Official Publication of the American Choral Directors Association Volume Thirty-nine Number Three

OCTOBER 1998 CHORALJO Wesley Coffman Ann Easterling EDITOR MANAGING EDITOR

COLUMNS ARTICLES From the Executive Director ...... 2 Leonardo Leo and His From the President ...... 3 Dixit Dominus ...... 9 From the Editor ...... 4 by Sharon Rae Van Nest

Letters to the Editor ...... 4

Hallelujah! ...... 53 Timothy W. Sharp, editor Norman Dello Joio's Secular Choral Music: Compact Disc Reviews ...... 57 Richard J. Bloesch, editor Conversations with the Book Reviews ...... 61 Composer...... 15 Stephen Town, editor by Lee Egbert Choral Reviews ...... 67 Corydon J. Carlson, editor The Choral Music of In Memoriam ...... 32 Hugo Wolf ...... 25 Repertoire and Standards by Peter Pocock Committee Reports ...... 43 Advertisers Index ...... 80 REHEARSAL BREAI(S The Good-Hearted Cantor ...... 35 Cover an depicts uThe Choristers'" by Alessandro Magnasco (J 740-45), donated co the National Gallery of by Margaret Boudreaux Art by Emily Floyd Gardiner. Phocograph © Board of Trustees, National Gallery ofAn, \'(Iashingcon, D.C. Two of the: figures are kapellmeisters. Cover design by Susan Gower. SPECIAL PULL-OUT CONVENTION SECTION! Registration form, map of downtown Chicago, information on hotels, airlines, car rental ...... 39

OCTOBER 1998 PAGE 1 r lL,ROM THE AFFILIATED EXECUTIVE DIRECTOR ORGANIZATIONS

INDIANA ACDA International Archives Receives Special Donations CHORAL DIRECTORS ASSOCIATION URING THE WEEK of August lOth, I attendedthe Fourth Pennsylvania President - Daniel H. Graves ACDA Summer Conference for Choral Musicians, held at Pennsylvania 209 South Sixteenth Street D State University. It was an outstanding conference, and I was happy to be a Richmond, Indiana 37374 part of that program. I was especially thrilled and honored to accept three very special Treasurer - PaulaJ. Alles 1471 Altmeyer Road donations to the ACDA International Archives. These were presented by Janet Jasper. Indiana 47546 Yamron on behalf of Elaine Brown, Peter Kiefer on behalf of Fred Waring, and IOWA Marvin Huls on behalf of Robert Page. We are very happy to have these wonderful CHORAL DIRECTORS ASSOCIATION gifts for the archives. They will be of great value to our members now and in the President - Bruce Chamberlain 1211 Oak Park Boulevard future. Cedar Falls. Iowa 50613 I will be describing these gifts, beginning with the Elaine Brown donation in this Secretary/Treasurer - Bruce A. Norris issue. Fred Waring and Robert Page contributions will appear in future issues of the 404 Maple Street Choral Journal Elaine Brown was a great teacher, conductor, mentor, humanitarian, Mondamin. Iowa 51557 and friend. Elaine had a vision early in her career-to bring people of diverse AMERICAN CHORAL DIRECTORS ASSOCIATION OF MINNESOTA backgrounds together through choral music sung with a high standard of excellence. President - David Dickau This vision was realized when she founded the Singing City Choir in Philadelphia. 104 Manchester Court The materials donated to the ACDA archives by Janet Yamron include the follow­ Mankato. Minnesota 56001 mg: Treasurer - Susan Zemlin 1029 Paul Parkway. NE. #304 • "Elaine Brown and Singing City: The Choral Art as a Communicative Social Blaine. Minnesota 55434 Force" is a dissertation by James D. Ewing, University of Miami, 1976. This is an MONTANA outstanding history of Elaine Brown and Singing City, showing how Singing City was CHORAL DIRECTORS ASSOCIATION formed. Elaine was untiring in her efforts to bring music to every segment of the President - Marco Ferro Box 454 community and to make Philadelphia truly a Singing City. Malta. Montana 59538 Letters, selected writings, awards, honors, and citations are listed here. "Chrono­ Treasurer - Larry Swingen logical highlights of Elaine Brown and Singing City," a "Selected Performance 216 Eighth Avenue SW Sidney, Montana 59270 (Continued on p. 6.) NEBRASKA CHORAL DIRECTORS ASSOCIATION 1999 ACDA National Convention Receptions President - James F. Hejduk Westbrook Music Building DECEPTIONS AT ACDA National Conventions afford friends and colleagues wonder­ University of Nebraska .I'\..fuI opportunities to renew acquaintances and share ideas about choral music. Receptions Lincoln. Nebraska 68588 at the 1999 national convention in Chicago will take place at the convention hotels. If you are Treasurer - Mark Burler 1014 Arthur Street of the convention hotels and contact information may interested in hosting a reception, a list Holdrege. Nebraska 68949 be obtained by contacting Bill Mayelin, 1999 ACDA National Convention Program Chair, OHIO .520 NW 3rd, Pendleton, Oregon 97801; telephone 541/276-4540; fax 541/278-1638. CHORAL DIRECTORS ASSOCIATION Information about receptions must be received by the National Program Chair by November President - Craig Johnson Music Department. Otterbein College 1, 1998, to be listed in the program booklet. Westerville. Ohio 43081 Treasurer - Bob Hartigan STATEMENT OF MEMBERSHIP 8770 Landen Drive The American Choral Directors Association is a nonprofit professional organization of choral directors Maineville. Ohio 75038 from schools, colleges, and universities; community, Church, and professional choral ensembles; and industry and institutional organizations. Choral Journal circulation: 18,000. Annual dues (includes TEXAS subscription to the Choral Journal): Active $55, Industry $100, Institutional $75, Retired $25, and CHORAL DIRECTORS ASSOCIATION Student $20. One-year membership begins on date of dues acceptance. Ubrary annual subscription President - Marsha Carlisle rates: U.S. $25; Canada $35; Foreign Surface $65; Foreign Air $75. Single Copy $3; Back Issues $4. 10318 Royal Coach ACDA is a founding member of the Intemational Federation for Choral Music. San Antonio. Texas 78239 ACDA supports and endorses the goals and purposes of CHORUS AMERICA in promoting the excellence of choral music throughout the world. Treasurer - Kelly Moore ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. 4021 Tirnberidge Drive Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational Irving. Texas 75038 purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. WISCONSIN The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. CHORAL DIRECTORS ASSOCIATION Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with President - Richard L Bjella these laws is a condition of participation by clinicians and performing groups at ACDA meetings and conventions. 3011 West Heritage Avenue Appleton. Wisconsin 54914 © 1998 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: 580/355-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except for June and July. Secretary/Treasurer - Ronald C. Buckles Printed in the United States of America. 18723 67th Avenue ~ Periodicals postage paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address Chippewa Falls, Wisconsin 54729 EdPless changes to Choral Journal, P.O. Box 6310, Lawton, Oklahoma 73506-0310.

Volume Thirty-nine Number Three

PAGE 2 CHORAL JOURNAL ...... h NATIONAL OFFICERS FROM PRESIDENT THE PRESIDENT James A. Moore School of Music. East Texas Baptist Universicy Morshall, T <=5 75670 9031935-7963 (voice); 9031938-0390 (f.t.,) ACDAs Historical Legacy jmoorc:@c:rbu.edu VEN THOUGH we are a young organization, the historical legacy of our VICE-PRESIDENT Lynn 'Whitten association is significant. Our contribution to the development of choral music College of Music, Universicy ofColor.J.do Boulder, Colorado 80309 in America is extensive, and the influence of ACDA upon the position pf arts 3031494-6648 (voice); 3031492-5619 (f.t.,) E [email protected] in American society is pronounced. Another twenty-five years will provide additional

PRESIDENT-ELECT evidence of the effect of to day's activities. Where will it be noted? How will future Milburn Price School of Music, Samford University generations know of ACDA's history? Birmingham, Alabama 35229 2051870-2778 (voice); 2051870-2165 (fax) An increasing number of our members are [email protected] becoming aware of the ACDAArchives, housed TREASURER Maxine Asselin in the national headquarters office in Lawton. Music Department, Bridgewater State College Bridgewater, Massachusens 02325 Donations have previously been made from the 5081697-1377 (voice); 5081697-1729 (f.t.,) ffi:[email protected] collections of Wesley Coffman, Walter Collins,

EXECUTIVE DIRECTOR Walter Ehret, 1. Stanley Glarum, Charles Hirt, Gene Brooks P.O. Box 6310, Lawton, Oklahoma 73506 Morris Hayes, Elwood Kelster, Russell Mathis, 5801355-8161 (voice); 5801248-1465 (fax) [email protected] Robert Snyder, Eva Stuckmeyer Youngberg, and

CENTRAL DIVISION PRESIDENT more recently, Harold Decker. Others have con­ Thomas J. Stauch Harper College tributed materials, including music scores, origi­ 12.00 \Vest Algonquin Road Palatine, IHinois 60067 nal compositions, recordings, concert programs, 8471925-6566 (voice); 8471925-6039 (fax) and notes from various class presentations and rjsr:[email protected] rehearsals. EASTERN DIVISION PRESIDENT Frederic Ford At the 1998 summer convention of the Penn­ Bridgew3tcr-Rarir:m High School P.O. Box 6569 sylvania ACDA Convention, donations were Bridgewater, New Jersey 08807 9081231-8660 (voice); 9081231-0467 (fax) made in recognition of Elaine Brown, Robert [email protected] Page, and Fred Waring. ACDA is in the process NORTH CENTRAL DIVISION PRESIDENT Steve Boehlke of becoming a repository of materials representing the work of leading choral musi­ Rosemount High School 3155 144m Srrm, W. cians of the last half of this century. The archives will become an attraction for the Rosemount. Minnesota 55068 6121423-7542 (voice); 6121423-7511 (fax) interested, the inquisitive, and those who have an appreciation for our legacy as [email protected] choral musicians. The most sincere gratitude ofACDA is extended to those who have NORTHWESTERN DIVISION PRESIDENT Constance Branton made contributions. Donations from other members are encouraged and will be Sourh Junior High School 805 Shoshone Street gratefully accepted. Publications, reports, convention programs, and other items of Boise, Idaho 83705 2081338-5377 (voice) historical significance should be considered also. Through this cooperative effort, we [email protected] can ensure that a thorough, complete history of ACDA will be preserved. SOUTHERN DMSION PRESIDENT Donald Trott Music Department. Longwood College 1999 ACDA National Convention Plans Farmville. Virginia 23909 8041395-2500 (voice); 8041395-2149 (fax) The ACDA Executive Committee, the ACDA National Board of Directors, and [email protected] the ACDA National R&S Committee chairs met in Chicago in August to transact SOUTHWESTERN DMSION PRESIDENT R. Paul Drummond the business and activities of the national organization, Included on the agenda was a Cenrral1vfethodist College/Department of Music Fayette. Missouri 65248 review of the program and performance venues for the 1999 ACDA National 8161248-6324 (voice) Convention in Chicago. A visit to the city and a preview of the schedule generated a WESTERN DMSION PRESIDENT Thomas Davies high degree of excitement and anticipation from those in attendance. National Music Department California Polyrechnic State University conventions have become monumental events. If you have been a convention at­ San Luis Obispo. California 93407 8051756-1548 (voice); 8051756-7464 (f.t.,) tendee through the years, you have vivid impressions of certain performances, interest tdavies@c::J.1poly.edu sessions, program personalities, and particular events that will never be forgotten. INDUSTRY ASSOCIATE REPRESENTATIVE KentSmiili The 1999 convention committee has worked diligently to provide opportunities for Herhage Festivals P. O. Box 571187 additional "life-changing experiences." Plan now to be in Chicago, February 24-27, Salt Lake City, Utah 84157 8011263-3445 (voice); 8011265-2314 (fax) 1999. A special pullout section of convention information begins on page 39 of this majJ@~eritagefestivals.com issue of the Choral Journal. PAST PRESIDENTS COUNCIL John Haberlen School of Music. Georgia Stare University University Plaza An activities. The Atlanta. Georgia 30303 importan~~!f~~~~!:!n~!~~e::~nftCZ!;~ 1az:':r~ 4041651-3676 (voice); 4041651-1542 (fax) Outstanding Student Chapter Award was established by ACDA in 1978 to recognize [email protected] Maurice Casey Colleen J. Kirk an ACDA student chapter that, through its activities, best supports the advancement Harold A. Decke Theron Kirk William B. Hatcherr DianaJ. Lebnd of choral music. This award and recognition will be presented at the 1999 National Morris D. Hayes Russell Mathis Charles C. Hit[ H. Royce Sainman ACDA Convention and will be determined on the basis of the following criteria: \Varner Imig Hugh Sanders Elwood J. Keister David Thorsen (Continued on p. 36.)

OCTOBER 1998 PAGE 3 FROM EDITORIAL BOARD THE EDITOR EDITOR Wesley Coffman 4023 WembleyTerrace Corydon J Carlson Dallas, Texas 75220 214/353-8020 (voice/fax) HE CHORAL Journal Editorial Board and ACDA friends are devastated by [email protected] the untimely death of Cory Carlson. Cory began his tenure as Choral ASSOCIATE EDITOR Reviews editor in 1995 and remained in that position until his death the Nina Gilbert T University of California-Irvine weekend of August 9, 1998. He had prepared choral reviews through the December Music 292, Building 714 Irvine, California 92697 issue, so you will see his name as editor through that time. Cory was organist at South 949/824-3854 (voice); 949/824-4914 (fax) Congregational Church in East Harrford, Connecticut, where his funeral was held on [email protected] August 14. He served as choral director at Avon Middle School, Avon, Connecticut. MANAGING EDITOR The Cory Carlson Memorial Fund has been established at the school. If you would be Ann Easterling P.O. Box 6310 interested in contributing, the address is Avon Middle School, 375 West Avon Road, Lawton, Oklahoma 73506 580/355-8161 (voice); 580/248-1465 (fax) Avon, CT 06001. Our deepest sympathy is extended to Cory's family. [email protected]

EDITORIAL ASSISTANT He that dwelleth in the secret place of the most High shall abide under the Susan Gower 316 Mustang Circle shadow of the Almighty. I will say of the Lord, He is my refuge and my San Antonio, Texas 78232 fortress. Psalms 91: 1-2 210/495-0833 (voice); 210/495-0838 (fax) [email protected]

EDITORIAL BOARD MEMBERS This Issue Richard J. Bloesch School of Music, University oflowa The articles inform us of some lesser-known choral works. Sharon Van Nest Iowa City, Iowa 52242 exposes the values of an interesting work by Leonardo Leo. Lee Egbert, through [email protected] conversations with Norman Dello Joio, gives us some additional insight into the David L. Brunner Departmem of Music, University of Cemral Florida composer's works. Hugo Wolf's creative output encompasses several genres other than P.O. Box 161354 Orlando, Florida 32816 the Lied. Peter Pocock tells us about some of his choral works. The choral works [email protected] reviewed this month are from the Jewish tradition and in a variety of voicings. Cotydon J. Carlson P. O. Box 9517 Bohon, Connecricur 06043 The Chicago Convention Christine D. de Catanzaro School of Music, Georgia Scare University The Editorial Board of the ChoralJournalis presenting a session at the 1999 ACDA P. O. Box 4097 Adama, Georgia 30302 National Convention in Chicago. The session, titled "Performing on Paper: Writing [email protected] for the Choral Journal, "will be on Thursday afternoon. We encourage anyone inter­ Sharon A. Hansen ested in participating in the production of the Journal to attend that session. If you Departmem of Music, School of Fine Arts University of\'{fisconsin-Milwaukee have questions or an interest, please feel free to contact the editor at any time. P.O. Box 413 Milwaukee, \'{fisconsin 53201 [email protected] Victoria Meredirh Choral Reviews Editor Faculty of Music, Talbot College Anyone interested in serving as Choral Reviews editor for the Choral Journal should University of\'{fesrern Omario contact me immediately. London, Omario N6A 3K7, Canada Wesley Coffman [email protected] Ro bert Provencio California Srare University-Bakersfield 9001 Stockdale Highway Bakersfield, California 93311 [email protected] Lawrence Schenbeck LETTERS Departmem of Music, Box 316 Spelman College 350 Spelman Lane SW TO THE EDITOR Adanra, Georgia 30314 Dear Editor: [email protected] I just wanted to write a word of thanks to all involved in presenting the wonderful Timorhy W. Sharp Choral Journal to us. What an outstanding source of pleasure and information it is! School of Music, Belmom University Nashville, Tennessee 37212 In a world gone amok, I especially salute those brave souls who continue to fight [email protected] for the art form called boychoir, despised by so many as politically incorrect and Stephen Town Departmem of Music socially anachronistic. Yet its multidimensional value and unmatched musical sound Northwest Missouri State University are cherishable and worthy of our support. Bravi tutti! Maryville, Missouri 64468 010046 [email protected] Thanks to all choir directors who have made our lives richer and sweeter through [email protected] their work in the choral art. SU7"Sum corda, COORDINATOR OF STATE NEWSLETTERS Perry White Douglas Neslund 2726 S. Pickard Ave. Norman, Oklahoma 73072 Los Angeles, CA [email protected]

I l PAGE 4 CHORAL JOURNAL NATIONAL R&S CHAIRS

NATIONAL CHAIR Barbara T agg 215 Crouse: College/Syracuse Unh'crs-ity Syraruse, New York 13244 315/443-5750 (voic,); 315/488-1155 (F..x) [email protected]:du BOYCHOIR Randall Wolfe Cincinnati Boychoir 2i~~~V:;~ci~~~j~45n2ut5 513/9480100 (voice) [email protected] CHILDREN'S CHOIRS Rebecca Roruolk Nonhwesr Girlchoir 728 Twemy-fim A ...enuc Seanle, \Vashingron 98112 206/329-6225 (voioe); 206/329-9925 (F..x) rroruolk@e:mhlink.nc[ COLLEGE AND UNIVERSITY CHOIRS William McMillan Department ofMusidUnivcrsiry ofTc:xas at EI Paso El Paso, T""" 79968 915/747-6630 (voice) [email protected] COMMUNITY CHOIRS Charles Facer Greenwood 1:Wor.nory School Somhwcsr Missouri Stare University 901 South National Springfield, Missouri 65804 ·417/836-6356 (voice) [email protected]

ETHNIC AND MULTICULTURAL PERSPECTIVES Anthony T.l=ch Pennsylvania Stare University University Park. Pennsylvania 16802 814/865-6521 (voice); 814/865-7140 (fax) [email protected]

JAZZ AND SHOW CHOIRS Diana R. Spradling \Vestem Michigan Univershy/School of Music Kalamazoo, Michigan 49008 616/387-4751 (voice) [email protected]

JUNIOR HIGH/ MIDDLE SCHOOL CHOIRS Karhleen Anderson 1551 Parl...-vkw Avenue San Josc, California 95130 650/526-3570 x447 (voice); 650/965-9278 (fax) meo.·.. [email protected]

/vlALE CHOIRS Clayton Parr Vandercook College of Music 3140 S. Federal SL Chicago, llIinoi, 60616 3121225-6288 (voice); 312/225-5211 (F..x) Packages start as low as $3.00 per CO. Packages incllJc:I~ digitally MUSIC AND WORSHIP pre-mastered CDs of your group, CD cases, 9H,!phic design, full CarlL Sum Chapel Hill Bible Church color covers and traycards, assembly grnf poiy":wrap",....We( 1200 Mason Farm Road Chapel Hill, NOM Carolina 27514 can work from OATs, CDs, rec9rds, videps-o~-cassettes. .~);~, 919/968-4754 (voice); 919/918-4059 (fax) [email protected] Give us a call to see how easily your pri~e6r Cary get--u:nderwa~! p~, I \1 '-~ I"," _'" ~ SENIOR HIGH SCHOOL CHOIRS Janice R. Bradshaw 9 Morningside Drive Boonville. Missouri 65233 816/882·7558 (voice); 816/882-3368 (F..x) Ij/ ~j~7 [email protected]

TWO-YEAR COLLEGE CHOIRS D. Brent Ball\\'"eg Collin County Community College 2800 East Spring Creek Park·way Plano, T,-"" 75074 9721881-5653 (voice); 9721881-5103 (F..x) 6i\SL bballweg@&7hosr.=d.edu FQUALITyCDs. WOMEN'S CHOIRS Monica Hubbard California Institute ofTcchnology Mail Code 2-58 Pasadena. California 91125 626/395-6260 (voice); 626/795-8731 (F....) [email protected]

YOlITH AND STUDENT ACTIVITIES Scon W. Dorsey Department ofMusidMoum Union College Alliance, Ohio 44601 330/823-2181 (voice); 330/823·2144 (F....) PH: 1-540-89~3981 FAX: 1-540-373-3902 dOI"SC)'5' [email protected] 4521 Vicky LN Fredericksburg, VA 22408 email: [email protected]

OCTOBER 1998 PAGE 5 J Sin to Life, Sing to Italy

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(Continued from p. 2.) Elaine Brown with Eugene Ormandy fol­ Thank you, Janet, for this priceless gift. Schedule," and a "Selected Repertoire lowing a Singing City concert with the It will ensure that Elaine Brown's legacy Schedule" all make a complete history of Philadelphia Orchestra in the 1970s, will live on for future generations of cho­ Elaine Brown and Singing City through Elaine with Marian Anderson and the ral directors. January 2, 1975. Choir, Elaine with Martin Luther King, Beginning on page 39 of this issue of • "Singing City: Celebrating 50 Years Jr., after a Singing City concert in the late the Choral Journal, you will fmd a special (1948-1998)" is a program booklet of 1960s. section containing preregistration infor­ the fiftieth anniversary concert to honor • "A Celebration of Life for Elaine mation and materials for the 1999 ACDA founder Elaine Brown. This booklet pre­ Brown" is a memorial brochure and a National Convention in Chicago. I am sents the concert program of Singing City tape recording of the service. Included is sure each of you has already marked your and information about all those involved a note from Helmuth Rilling in remem­ calendar to be in Chicago, February 24- with this special event and also displays brance of Elaine and a poem for Elaine by 27. By the time this issue reaches you, some beautiful photographs of Elaine Allen Lannon, past president of ACDA you will probably have received a prereg­ Brown's career. Interesting pictures include Eastern Division. istration packet in the mail. Please take a • An audio tape of Elaine Brown testi­ moment and complete the preregistra­ monials includes tributes by Eugene tion form mailed to you and return it to Ormandy and Leopold Stokowski. Lis­ the ACDA National Headquarters. If you l\'UJSU:A~ tening to just part of this tape makes one have any questions concerning the con­ I\, () WI.t.\..NI(~.t~® .~ realize how much Elaine was loved, hon­ vention, please contact the national head­ Your eXGlusive so urGe for FO:.omanian ored, and admired for her truly great con­ quarters by telephone (580/355-8161), Ghoral musiG and beyond._ ducting, for the founding of the Singing fax (580/248-1465), or e-mail City Choir, for her strong sense of commu­ ([email protected]). CATALOG and ~ nity, and for her high level of excellence. SAMPLER TAPE! • A CD-ROM features Elaine Brown and the Singing City Choir performing P. O. Box 27830 Seattle, W A 98125-2830 Beethoven's Missa Solemnes in D major Gene Brooks Phone· (206) 364-4225 Fax. (206) 364-4569 with the Philadelphia Orchestra, con­ E-znail • [email protected] ducted by Eugene Ormandy.

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by Sharon Rae van Nest

Leonardo Leo (1694-1744), a leading Neapolitan com­ The de Bellis Collection manuscript consists of a title page poser of the early eighteenth century, composed at least eight and 121 pages of music, three empty-staved pages, and one sertings of the Dixit Dominus. Previously, it had been thought blank page. All pages are approximately 24 centimeters high that Leo wrote seven Dixit Dominus sertings, none in the key of and 29.2 centimenters wide. There are ten staves per page in F. Three copies of a version in the key of F have now been the second movement, and all other movements have twelve discovered. One copy was discovered by this author in the staves per page. In general, the music and text are not difficult Frank V. de Bellis Collection at San Francisco State University. I to read. The complete designation of instruments and voices is Two other copies are presented in RalfKrause's 1987 disserta­ found only on the first page of the manuscript. Other move­ tion "Die Kirchenmusik von Leonardo Leo (1694-1744). Ein ments list instruments only occasionally. The Dixit Dominus is Beitrag zur Musikgeschichte Neapels im 18. Jahrhundert" scored for SSATB soloists, SSATB chorus, two oboes, two (Regensburg, Germany).2 violins, viola, two horns, and organ (Figure 1). This article presents Leo's F-Major Dixit Dominus. The first Clefs found in the score include the G clef for the violins, modern edition is in a dissertation by this author, Leonardo oboes, and horns; the C clef for the cantos [sopranos], violas, Leo's F-Major Dixit Dominus: An Edition and Commentmy.3 altos, and tenors; the F clef for the bass voices; and F and C The edition is based on the three extant copies and was based clefs for the organ. The score contains many notational con­ on personal examination of each copy. No autograph score of ventions that were time-saving devices, or were to conform to this Dixit Dominus has yet been discovered. The primary manu­ the restriction of the space on the page. Often, only the viola script used in the study is located in the Frank V. de Bellis part "is given the instruction "col basso." While each violin and Collection. Both secondary manuscripts consulted are located oboe part has its own staff. the horn parts share a staff. Al­ in England. One is in the Bodleian Library at the University of though the first movement calls the lowest part in the ensemble Oxford; the other is in the Royal College of Music in London. "organo," doubling by one or more fundamental bass instru­ The copy in the Bodleian Library appears to be in the same ments was traditional and is implied by the addition of the hand as the de Bellis Collection copy. One is most likely a copy word Violonc., or Vio., in the score. These indications usually of the other because mistakes are duplicated exactly. The music coincide with changes from F clef to tenor C clef and vice probably never was performed from these copies, since many of versa. the mistakes are severe (such as missing measures in some, but The figured bass notation is shown sporadically, although not all, of the instrumental and vocal parts). All copies are the same, in the de Bellis and Oxford scores. The Royal College undated. of Music score shows many more figures in the bass. The de Bellis and Oxford scores usually show the figures beneath the Sharon Van Nest is Director of Choral Activities at the organ part; the Royal College of Music score usually shows the University of Hawaii, Hilo. figures above.

OCTOBER 1998 PAGE 9 T I

The de Bellis score was purchased from and N. Jommelli. He was esteemed by his often received permlSSlOn to fulfill H. Baron of Christchurch Avenue, Lon­ students as a teacher, composer, and commissions for work in other cities. He don, England, in February 1959. friend. The eighteenth-century poly­ traveled to stage works in Venice in 1723, phonic "church style," with its modern Rome in 1726, Bologna in 1737, Turin Background view of harmony, owed much to Leo's and Milan in 1739-40, and Rome again By the year 1700, Naples was the larg­ influence, particularly through his pupils.4 in 1741. His fame spread from Naples to est city in Italy, perhaps the most popu­ Leonardo Ortensio Salvatore de Leo over twenty other Italian towns where his lous city in all of Europe, and emerged as was born on August 5, 1694, at San Vito works were performed. Sources indicate a leading center for music. At that time degli Schiavi (known today as San Vito there were performances outside of Italy Naples was ruled by the Spanish, and dei Normanni), approximately twelve as well, in London, Paris, Dresden, musical activity was mainly under the con­ miles from Brindisi. He lived his entire Innsbruck, Potsdam, Madrid, Lisbon, and trol of the Spanish viceroy. There were life in the Kingdom of Naples. St. Petersburg.6 four conservatories in the city, which pro­ After leaving the conservatory, he held Leo was a prolific composer, with com­ vided a strong base for the formation and several official appointments in the city. positions that include theatrical works, growth of Neapolitan music. One con­ He was first appointed as an unpaid or­ liturgical works, oratorios, cantatas, servatory that became famous in compo­ ganist for the viceroy's chapel in 1713 concertos, toccatas, and solfeggi and sition was the Conservatorio Santa Maria and moved up through the various ranks partimenti for teaching purposes. It is per­ della Pieta dei Turchini. This was due in until he became maestro di cappella of the haps in the context of church music that no small measure to the teaching of royal chapel. He composed a series of his name is known today. Among his sa­ Leonardo Leo, who specialized in fugue compositions for the use of the royal cred works are settings of the Dixit Domi­ and counterpoint. He was one of its most chapel during Lent and reformed the royal nus, Masses, oratorios, two Magnificats, successful students. In addition to teach­ opera orchestra. Unfortunately, after only Introits for Lent, numerous motets, a Te ing and administrating at the Pieta, he nine months in office, he died, suppos­ Deum, and the Miserere for double cho­ taught at the Conservatorio S. Onofrio. edly while seated at his harpsichord.5 rus. Probably his most well-known sacred Some of his most famous pupils were N. Although his musical activity was pri­ works are the two oratorios La morte di Piccinni, P. Cafaro, N. Sala, F. Fenaroli, marily confined to the city of Naples, he Abele and Sant' Elena al Calvario, both premiered in Naples in 1732. Manuscripts of his compositions are to be found in the libraries, museums, and conservatories of Europe and the United States. The Dixit Dominus in the Key ofF The Dixit Dominus is a Psalm sung in Latin during Vespers. This text is one of the most mysterious of the 150 Psalms. It describes the exaltation of the ideal king, seated at the right hand of God, exercis­ ing worldwide rule from Zion. It also describes the promise of God's gifr of EPH EHLY WESTON NOBLE power, the king's priestly mission, and the to take your choir to world dominion of the king in a violent picture ofdeath and destruction. The early ATLANTA. CHICAGO. KANSAS CITY Christians added the Gloria Patri, also known as the Lesser Doxology, to the Psalms when they were used in worship.? MASTER'S CLINICS Description of the Music STUDENTS: Clinics, Concerts and/or Standing at the juncture between Ba­ Master Classes DIRECTORS: Conducting Clinic with roque and pre-Classical styles, most of the Masters the surviving church music of Leonardo Leo was written after 1730.8 He wrote in FOR A BROCHURE CALL: (314) 989-1852 the full Baroque style for voices and in­ struments independently, and combined OR WRITE TO: P & P Educational Services, Inc. 1405 Pine Row Ct., St. Louis, MO 63146 contrapuntal procedures with harmonic VISIT OUR WEBSITE: WWW.PPED.COM devices traditional for the time."Leo used vivacious rhythms, contrasting textures

PAGE 10 CHORAL JOURNAL J f'. ,.. t ~;:::r and dynamics, and a definite tonal cen­ :EEHI 1;J,1;y,,, tZ,ka" ter. In addition, he wrote in the pre-Clas­ ~ .1 1 .1 r. ~I· sical, or gallant style, which emphasized the expressiveness of the melody. ~1 .. ... ~ ,..-, Ii:" ~.r In general, the rhythms are simple and '1 the tempo constant within each section. ".-... -. M- ,... The basso continuo gives a driving, almost 'fA motoric, feeling in each movement. The I I f J I 1 ) 1 A .I rapid changes in harmony produce an =t.::;.; L II energetic harmonic rhythm. Virtuosity /J .I 'I 1. r t r h 4'" r Ir r rtl (( ( 'I and improvisation were important. Or­ Ii" J I " {I 9 I namentation was an essential element, 1 sometimes written into the music, but I ,- 1 more often left to the performer to real­ ,...... I 1 I Ize. l 1 There are great contrasts in textures. /2 Small groups of singers or instrumental­ = It.- ists are contrasted with larger groups. ." " Contrapuntal settings are contrasted with homophonic passages. In solo sections, L n I the bel-canto style of singing emphasizes {/ the beauty ofvocal tone and brilliant florid - t.'J r. .... a j 1 technique. Chromaticism is evident but (/ not excessive, as was the custom of the times. Tempo indications are sparse; it Figure 1. Dixit Domintls, page 1 was the Baroque practice to add dynamic markings during rehearsals.9 Dynamic variations were often achieved by con­ Madrigal Costumes E NEW! 1999 trasting instrumental and vocal groups of PACKm Lent & Easter varying quality or size. West QEnb

OCTOBER 1998 PAGE 11 The triadic theme clearly sets the key ofF movement continues the theme of the Movement II major. Although there is some imitation, second section, now beginning in the alto Donec ponarn inimicos "While I make your ruos; scabellum pedum enemies your the first section is mainly homophonic. part. This section is also imitative. There ruorum fOO[5[ool."ll The second section is more contrapuntal, are strong, regular rhythms and themes with imitative entries. It begins with a that emphasize tonality. Vocal lines are In B~ major, the second movement is new theme, in the bass line, doubled by often doubled instrumentally. for soprano solo, violins 1, II, viola, and the organ. The third section of the organ. The expressive movement has florid

@l Allegro assai melodies, ornamentation, chromaticisms, "/A and wide ranges (Figure 3). The lyricism SI --- is enhanced by the flourish of rhythmic tJ Dix it Do-mi-nus Do -mi-nus, Do - mi-no groupettes. Contrasting dynamics are sup­ II plied and add much interest, while the S2 tJ I I steady continuo and strings support the Dix it Do - mi-nus Do - mi - melody. There is an expressive, virtuostic A A cadence for the soprano soloist. tll This movement is the soloist's conclu­ Dix it 00- mi-nus, Do mi-no me - ,. - sion of the Lord's directive of the first T movement: "while I make your enemies

Dix it Do mi-nus Do mi-no your footstool." With the small instru­ " ~. " mental ensemble and expressive solo line, B the text is easy to hear. Dix it Do-mi-nus Do .;.. V" ~ . Org. Movement III Virgarn virruris ruae, The scepror of your 5 {Tas/o solo] 5 (Tas/O solo] " 5 6 9 3 4 6 3 4 emirrer Dominus ex sovereign might the [nf) 3 2 5 P f 2 Sian: dominare in Lord will exrend from media inimicorum Zion. The Lord says: Figure 2. Opening statement of the chorus, Movement I marum. "Rule over your enemies."12

ITill Andantino ';A r--6 ..,---, /L The third movement contrasts with VIn.I the second movement in many ways. For tJ L....J full chorus and orchestra, the effect is ,. , Vln.II powerful and moving. There is a dra­ ttJ· r ...- "'-J 1--1 - ...... matic and expressive use of dissonance. While the main tonal area is the key ofD VIa. - ~ major, Leo uses minor keys, augmented­ -til- r ---.. - sixth chords, and complex harmonies for VII" --~ Spp. ---- ~ tension and dramatic effect. ttJ r r- ~ - sea - bel - - lum pe - dum tu - - - o - rum, sea· V MovementN . i""""'I Tecum principium in Your princely power Org : - die virruris ruae in from rhe day of your r 1,...... 01 ~4 6 7 7 4 • . splendoribus sancrorum: birth. In holy splendor '"' 2 3 ex urero anre luciferum before rhe daysrar, .;,. /L ...... genui reo like rhe dew I begor ~ ~ ~ you. 13 tJ,. ,...... , In virtuoso display, this movement is ~ ~ ~

tJ for soprano and alto soli with strings and - .,.. ~ ~ .,.. ~ ~ .. -.. organ accompaniment. This extremely ~ florid movement is in the key of G major. r- The violins and vocal soloists execute trip­ r---6- . .. ----~6- ,--6-----, (" - lets, trills, and appogiaturas. The organ r-ttJ provides a pulsating support with a con­ bel - -- lum [pe) ------stant eighth-note beat. .. .. • '"' : ~ ~ ~ There are several striking effects. There ..... L.,.....I are contrasts in dynamics and echo effects 6 6 7 5 7 - between different parts. Imitation is im­ Figure 3. Movement II (a) portant in this movement. Repetition

PAGE 12 CHORAL JOURNAL L s emphasizes the power of the words. The De rorrenre in via biber, Who drinks hom me Royal College of Music score some time proprerea exahabir brook by me wayside insuumental pans have fermati, but the capm. and mus holds high after the copy was made. vocal parts do not: it seems to be an rhe head. IS In the key of A major, the movement implied cadenza. The music is filled with is dramatic and dissonant with chromatic, sentiment and personal emotion. Leo combines the fifth and sixth bibli­ rapidly moving parts (Figure 5). There is cal verses of the Psalm into this sixth much harmonic tension; yet there are also Movement V movement. Although not specified for lyrical, ornamented solo lines. Points of Juravit Dominus, er non The Lord has sworn soloists, the movement is exuemely or­ imitation are present, as well as contrasts poenirebir eum: Tu es and will nor waver: nate and is probably intended for soloists. sacerdos in aerernum "Like Melchizedek in dynamics. secundum ordinem you are a priesr "Quintetto only in 5 parts" has been Melchisedech. forever."14 added in pencil (in English) onto the

The entire movement is active, with III moving quarter-note runs, imitation, se- -"fI ...--..,. quential "spinning out" of the theme, sus- S1 ~ pensions, and doubling of parts. There Ju - ra vit, ju - ra vit Do mi- are two sections in the fifth movement. fI 1"'"0. As in previous movements, Leo has set S2 ~ -..;;;; I certain words for emphasis, for example, Ju - ra vit, "*ju - ra vit Do - mi-nus, in the first section (Figure 4), all vocal fI parts repeat the word "Juravit" ("has A ~ "* p. r sworn"). The repetition serves as a confir- Ju-ra-vit Do - mi - nus, ju - ra vit Do -.'.mi-nus, mation. fI .. T ~ ... .. Movement VI Ju - ra vit Do- mi-nus. et non poe - Dominus a dexuix mis, Ar your righr hand is ~ ... confi-egir in dei irae suae me Lord, who crushes B reges. kings on me day of r wrarh. Ju - ra vit Do - mi-nus, et non poe oi - Judicabir in narionibus, Who, robed in I.- .. "Pc 11> ... implebir minas, splendor, judges Org. conquassabir cap ira in narions, crushes heads I 6 5 6 7 #6 5 3 6 rerra muhorum. across me wide earm. ""' 5 3 5 2 4 4 3 Figure 4. Movement V

-"AJI." -fL .,ot.". ~ .. Vln.I ~ ~ ...... 1...-1 ""-l - ~'-""'" 11f flJI..fI --- f .- .. .,ot._ ~ V1n.I1 - - it- .. It! - ~'-""'" ... Via. I~ -- - u , ~

r----- ~ "fiJI, " ~ u S2 ~ It! 1...-1 ""-l r 0 - - - - - ni-bus, im - pIe - bit ru - i - nas. ~ AJI. " u A -~ It! li- p it- - 0 - - - - - ni-bus, im - pIe - bit ru - AJI. " T I I I " 0 - - - - ni - bus, B

I.- -... JI, - u ~ Org. - - ~ "' ~6 5 ~6 7 6 - 6 -7 4 # 4 ~~ i - Figure 5. Movement VI (b)

OCTOBER 1998 PAGE 13 Movement VII them by Leo himsel£ While the perform­ NOTES Gloria Parri, er Filio, Glory be [Q the Father, ers of Leo's time may have known exactly 1 The Frank V. de Bellis Collection of the er Spirirui Sancro. and [Q the Son, what he wanted, we must look at centu­ California Srare University is a research and [Q the Holy Spirit. ries-old manuscripts and try to under­ collecrion of Iralian civilizarion and Sicur erar in principia, As irwas in rhe stand his intentions, No autograph score culture. Housed in the San Francisco e[ nunc, e[ semper, beginning, is now, and has been discovered, so the three extant Srare University Library, rhe holdings er in saecula saeculorurn. ever shall be, world Amen. witham end. Amen. 1G manuscripts are the only clues we have to include rare music by various Iralian what Leo intended for his setting of Psalm composers. Leo has set the Gloria Patri as a sev­ 110. While there are some inconsisten­ 2 Ralf Krause, "Die Kirchenmusick von enth movement. The first section begins cies in the copies, and some interpreta­ Leonardo Leo (1694-1744). Ein Beitrag in the key of D minor with the strings tion was required, the scores have enabled zur Musikgeschichre Neapels im 18 and organ. With contrasts between soli this author to present a performable, mod­ Jahrhunderr" (Gusrav Bosse Verlag alto and soprano voices and rutti chorus, ern edition of Leonardo Leo's Dixit Domi­ Regensburg, 1987). between different dynamic levels, and be­ nus. It is hoped that the Dixit Dominus in 3 Sharon Rae Shoblom Van Nesr, "Leonardo tween fast and slow sections, it is a dy­ the key of F will be published and that Leo's F Major Dixir Dominus: An namic concluding movement. conductors will be able to present this Edition and Commentary" (D.M.A. diss., The fanfare-like arpeggiated theme re­ large work to their choirs for performance. Universiry of Missouri-Kansas City, rums from the first movement. Through This Dixit Dominus is evidence that 1997). 124 measures of "Amen," the concluding Leo made meaningful contributions to 4 Anrhony Lewis and Nigel Forrune, ed., section is powerful. The music drives to the development of sacred choral music. Opera and Church Music: 1630-1750 the end with hemiolas in the final mea­ There are other neglected works of sub­ (London: Oxford Universiry Press, sures for an exciting climax to the work. stance by this composer, and further re­ 1975),391. search into his music seems warranted. In 5 Richard John Bloesch, "The Eighreenth­ Conclusion addition to the many settings of the Dixit Century Iralian Magnificar: A Survey of The notes and the words of the Dixit Dominus, are Masses, motets, fugues, and Represenrative Sertings (ca. 1700-1750) Dominus may have been last glanced at oratorios. There are three Miserere mei With An Analysis and Edirion of Six by singers who had been taught to sing Deus settings, three Laudate pueri settings, Works" (D.M.A. diss., University of a Pange lingua, Ave maris stella and other Illinois ar Urbana-Champaign, 1971), Madrigal Costumes titles too numerous to mention in this 187. article. For a catalog of sacred works, in­ 6 Graham H. Hardie, "Leonardo Leo (1694- We~t qfnb

PAGE 14 CHORAL JOURNAL Norman DelIo Joio's Secular Choral Music: Conversations with the Composer

by Lee Egbert

I love the sound of choral music ... of voices in harmony, experiences in his musical memories include opera singers at and that to me is an ideal in which music the An can pit his home at all hours (Casimiro was an opera coach), organ voices in different lines that make a whole sound ... the lessons with his father, the sounds of Catholic liturgy and New ethical thing involved here, the personal relationship York City Jazz. Jazz rhythms pervade his orchestral and choral established with people making music together. It creates a works and often serve as a backdrop for his melodic gift. bond that no other An does. It's that miracle which happens Delio Joio studied at The Juilliard School with Barnard when you tell the central idea, with the complexities of Wagenaar. From 1941 through 1942 DelIo Joio made a weekly our Western music, making the whole function in terms commute to Yale for study with Hindemith also. In Hindemith, of pleasure for the individual within the choir, derived not he found a kindred spirit who shared the strong belief that the totally from the music, but [from] the establishment of the listening public should be considered an equal party in the

relationship with another in harmony. I loop of shared musical experiences. Nomzall Dello Joio, 1989 DelIo Joio notes: "Hindemith insisted that I be disciplined, and I hated it at the time." Hindemith said, "You know there For more than fifty years Norman Delio Joio (b. 1913) has are only twelve tones, and they must be treated very carefully. written prolifically for orchestra, solo voice with piano, cham­ You have this Italianate kind of heritage [so] don't deny it. ber ensemble, television and flim, concert and symphonic band, Don't shy away, don't try to sound modern [merely] to sound ballet, and choir. He is a first-generation American born to an modern."2 Italian heritage of more than one hundred years of musicians­ That hit me like a ton of bricks. And he talked about the composers and organists. (Pietro Yon, organist at St. Patrick's, ethics of being a composer. It's not just self-indulgence. I was his godfather.) Influenced by a family of church musicians asked, "Do you ever write final sections prior to writing begin­ and by harmony and piano studies with his father, Casimiro, ning ones?" Delio Joio became an organist in New York City. This liturgical experience provided a profound sense of the aesthetic of chant. Well, yes. I have the whole structure pretty much in mind This became part of his musical spirit, influencing both his before putting down notes. If I were ro show you my choral and instrumental compositions. His improvisation and original score [one] couldn't make heads or tails of it. I keyboard performance skills became increasingly known. Early know exactly how I will treat the text, for example, in Songs of Walt Whitman. I know final sections before Lee Egbert is Director of Choral Activities at Colorado State writing beginning ones. Yes.3 University, Ft. Collins, where he conducts the Chamber Singers and University Singers. He is also conductor of the Alpine DelIo Joio seldom works on more than one score simulta­ Chorale, Denver, Colorado. neously, except when writing documentary flim music and ballet. The absence of indecision in his compositional process

OCTOBER 1998 PAGE 15 serves well the discipline required to write Whitman's poetry for early, middle, and us to adventure. Open Road's trumpet call for specific timings. Sometimes tagged as late events of World War II. These works, complements the text, "Hello, hello, craftsman or a people's composer, he pro­ Vigil Strange, A Mystic Ti'umpeteJ; and A Whoever you are?" It shows an instinctive duces a musical language of strong emo­ Jubilant Song 4 explore respective combi­ prosody and demonstrates a highly imagi­ tion, one that is straightforward, direct, nations of grief, hope, and joy, exhibiting native style. Both works may be consid­ and from the heart. picturesque, sometimes impressionistic, ered pivotal in his relaxation of formal His life of composition divides gener­ text painting. (Following Song ofthe Open and contrapuntal techniques of the 1940s. ally into phases of development and in­ Road in 1952, he did not return to Shortly thereafter an increasing number terest, rather than periods. While he may Whitman until 1966.) Other choral char­ of tritonal chords and other extended har­ agree that those separate decades of and acteristics include use of syllabic settings monic schemes began appearing. The following the 1940s, 1950s, and 1970s contrasting lyric melodies (especially in a longer, yet faster-moving works of the signaled refined modifications and differ­ minor key), unpredictable yet logical har­ 1950s begin to mark his style with an ent media, he also suggests that organiz­ monic schemes, fast-moving rhythms, and even sharper (and sometimes busier) ing his works into periods might be little powerful accompaniments. Jubilant Song prosody. However, in spite of an increas­ more than an exercise in untidy inven­ contains fragments, thematic suggestions, ing enharmonic tonal language with se­ tion. His sryle changes are more easily and organization that returns sporadically rial chromatics, his works remain seen by grouping certain works into throughout his later works. primarily tonal in construction, melodic phases. in appeal, and they feature accompani­ The 1950s ments that are interesting, strong, and The 1940s The 1950s and 1960s were a time of demanding. His shorter pieces increas­ Vigil Strange (1941), A Mystic Ti'um­ experimentation. Opera, television, mm ingly demonstrate a more compact, peter (1943), A Fable and A Jubilant Song music, and several of his best-known cho­ clever craftmanship where repetitive in­ (1946), and Madrigal (1947) established ral works appeared. These years exhibit tervals ingeniously appear as motives early a popular sryle. There is merit to his most varied writing. Song ofthe Open in miniature: examples include The Baumgardner's insight that DelIo }oio co­ Road (1952) and To Saint Cecilia juxta­ Bluebird (1950), Song of Affirmation incidentally framed a trilogy usmg pose lyrical and driving melodies that call (1953), "Somebody's Coming," and "Sweet

/~./~~_{ -".i' j r=l l~oWl~~ Repertoirefor women's choirs that represents a balancefrom all periods, compositions ofhigh quality from less celebrated composers, contemporary works which stretch the boundaries of choral sound, a variety of treble voicings and instrumentation, texts with a variety oftopics and attitudes, and compositions that provide a wide range ofchallenges.

MlSSA HUMIUS OVOS OMNES 1O/1916R Cl),stal LaPoint 1.75 15/1400R Victoria/Ed. Raymond Sprague lAO SSAA unaccompanied, with soprano solo' This short, SSA unaccompanied' Oliginally published in 1585, four-movement mass contains the h"aditional Kyrie, tllls motet for women's voices is in the typical Gloria, AgnzLS Dei, and Alleluia, Amen with Latin texts. polyphonic style of Victoria - and it is a must for selious It is a tour deforce for an advanced women's choir, and h"eble choirs. is primarily polyphonic with contemporary harmonies. Each of the four movements will stand alone or anchor a EXAUDI! LAUDATE! concert when the work is offered in its entirety. 15/140lR Beverly A. Patton lAO SSA . This is a high energy piece with a robust piano DANNY BOY accompaniment that will challenge the accomplished 15/1399R Dana Wilson lAO SSAA unaccompanied· This arTangement of a classic pianist. The contemporary style features a Latin text, folk song uses the full vocal range of the women's and it makes a wondelful compliment to the women's chorus, coupled with a wide variety of color and choir repertoire. expressive dynamic conh"asts. Recommended for v"-"S-~ \"UUU5/f/,\'c;-Co festivals and contests. ~::r "\ gAP. _~ Order from your favorite music supplier, ~ P.o. Um: 802/ fr.l}1on, Ohio -i5-iOI-OSOl.,. or call (800) 444-1144 A 01\1510;': OF TIlE LORE.... -:z CORJ'OR.-\TIO;-'::

PAGE 16 CHORAL JOURNAL L • Sunny.. (both from the 1950 opera, The During the course of that project Tall Kentuckian), and Adieu, Mignonne, He is emphatic about not about 75 composers were placed, When You Are Gone (SSA, both 1954). some of them very distinguished Melodic narratives between paired voices subscribing to any names roday, such as Schickele, appear in tonal and bitonal settings, pro­ Beglarian, Diemer. I think a great ducing elements of triadic and quartal particular harmonic many composers came out knowing harmonies. An increasing number of com­ how to meet a deadline, and with a missioned works by both amateur and system or ofbeing sense of responsibility for whom professional groups helped confirm the they were writing.' value of his compositions. Several of his works were written for the Shaw Colle­ enslaved to any The 19708 giate Chorale. particular key. Dello loio continued a rigorous sched­ ule of writing during the years he served The 19608 as Dean of Boston College's School of A wider chromatic and more avant­ Music (1972-78). These works began garde style begins appearing in his works. deadline for that school's performing with Evocatiom for Chorus and Orchestra Fantasy and Variatiom (1962), the serial group(s). The project's thesis was consis­ (1970), along with several shorter works Colloquies for Violin and Piano (1963), tent with his own well-known sentiment, of continuing popularity, including 'Of and the Emmy Award-winning Scenes i.e., that music written for specifrc cir­ Crows and Clusters and Come to Me, My fi'om the Louvre for Band (1 964) are set in cumstances (or groups) could be written Love (both 1972), Leisztl'e (1973), Poet's a different medium that better serves a for amateurs or professionals, in an acces­ Song(1975), Notesfi'om Tom Paine (1975), more chromatic style. An intense sched­ sible language, and without compromise and As ofa Dream (1979). Each exhibits ule of writing for film and television fails of quality or craft. He speaks with pride mature, melodic writing of an unashamed to diminish his choral output, and major about CMP's success: Romantic capable of artistic simplicity. Whitman settings appear during this de­ Here he seems to have bridged a style of cade: Three Songs ofChopin (1964), Songs lyric simplicity and light dissonance. ofwatt Whitman (1966), Proud Music of the Stonn (1967), and Years ofthe Modern

(1968). T • H • E The last three are closely related to the OHIO Vocal Performance at spirit of the earlier Jubilant Song, yet are 5WE longer and noticeably more episodic be­ UNNERSI1Y The Ohio State University- cause of the nature of Whitman's poetry. A Comprehensive Curriculum for Training the Choral Musician Even those "la, la, la" passages first heard in Jubilant Song (Dello loio's interpola­ D.M.A., M.M. in Vocal Performance and Conducting tions rather than Whitman text) express Ph.D. in Choral Music Education ~ M.A. in Vocal Pedagogy both the composer's love of dance and the B.M. in Vocal Performance ~ B.A. in Music ~ B.M.E. in Music Education joy of singing so obviously inherent in FACUlJ'Y For information on 1998-99 Whitman's texts. Such nonsense syllables, Karen Peeler, voice, Noel Koran, director of audition process, contact: heard also in To Saint Cecilia, attest to pedago gy, area head opera Hilary Apfelstadt, Patrick O'Donnell, coach! Dello loio's willingness either to abandon Hilary Apfelstadt coordinator of graduate accompanist phone: (614)292-9926 or interject text to secure a more emo­ conducting Robin Rice, voice e-mail: apfelstadt.l @osu.edu tional, direct expression. Moving to a freer Eileen Davis, voice Loretta Robinson, voice harmonic treatment and relaxed structural Jinl Gallagher, pedagogy, PatrickWoliver, voice use of both a melodic and harmonic director of choral activities tritone, his style waxes less Romantic dur­ ing these years yet remains very emo­ tional in an increasingly personal language. He is emphatic about not sub­ scribing to any particular harmonic sys­ tem or of being enslaved to any particular key. In 1964-65 he was appointed Chair­ man of the Contemporary Music Project's (CMP) "Project Policy Committee" that placed young composers in selected school systems to write specifically and with a

OCTOBER 1998 PAGE 17 These twelve-tone and polytonal sounds familiar "la, la, la" refrain, which also ap­ Delio Joio's Poets, used in a controlled manner alter his style pears in his 1995 Songs ofMercy and The Short Works, Mottos, and little more than to color his tonally based Quest. Text Painting musical style of the 1970s and 1980s. Published in three separate movements Several of Dello Joio's more emotional (I. "The Oak Tree," II. "Love Song," and and personal works are set to the poetry The 1980s and 1990s III. "My City"), Songs ofMemory summa­ of Christina Rossetti, Vachal Lindsay, John Written in a relaxed but emotionally rizes some of the warmer elements of his Payne, Richard Hovey, Robert Hiller, and direct manner, his recent works, such as earlier styles. He breaks no new ground John Dryden. In spite of his preference the very romantic Love Songs at Parting here but suggests that Whitman's proph­ for the musical references in Whitman's (1982), are among his personal favorites ecy still remains a challenge to mankind poetry, however, he is quick to name his and are set to his own text. Of them he (and composers). From acknowledging cantata, To Saint Cecilia, from an adapted says, "They're very beautiful. They make the "oak tree" standing alone and the text of Dryden, as another of his favored people cry."6 "reaching for the sky" of our own fledg­ works. Of his secular works twelve of them I Dreamed of a City Invincible and A ling democracy, to the more enigmatic (and often the largest) are adapted from Proclamation (both 1990) and his recent "Love Song" (reminiscent sounds of Come the poetry of Whitman. These include: Whitman-like Song; ofMemory (1995) all to Me, My Love), and finally to "My Vigil Strange, A Jubilant Song (from feature text solely by the composer, who City," where he speaks ofa "City no longer Whitman's "Songs of Joys"), The Mystic notes his debt to Walt Whitman. In Songs oEJoy," the composer poses the question: Trumpeter, Song of the Open Road, Songs of Memory Dello Joio observes a nation "Where have you gone with the dreams of Walt Whitman (I, II, III, IV), Proud undaunted by its failure to fulfill its des­ of a boy?" Each is compelling and des­ Music of the Storm, Song of Affirmation tiny. He writes sadly yet warmly with tined to become popular. Except for The (recast from his Symphony for Voices and harmonic introspection that is less circui­ Quest (from Edgar Allen Poe), all the texts Orchestra), lean of the Modem, Sing a tous than in earlier works. The last move­ used thus far in the 1990s are his own. Song Universal and I Dreamed of a City ment ("My City") contains a return to his Invincible, The Proclamation, and The Vigil. Dello Joio acknowledges an early pref­

5TH B lEN N I A L erence for Whitman texts and musical A Tradition of Excellence allusions-his "singing" vision that pro­ GOLDEN GATE claimed the destiny for mankind. For E.R. MOORE CO. International Children's Dello Joio, Whitman insists that music, and especially singing, provides that great Choral Festival moral force that embraces us all in a spiri­ Robert Cean), Artistic Director tual and social democracy. Whitman's words, "Come on, come on, Whoever you are. Corne travel with me," epito­ mize the poet's challenge to look to the future. In speaking of the beauty and po­ tential inherent in a Whitman text, the composer says:

He epitomized In terms of his writing a transcendental envelop­ June 21 - 26, 1999 ment of mankind. In orher words, Warm hospitality in beautiful he had a vision in terms of man. Northern California. And everything-every human Competitions in general, being was significant to him. He folk/popular, and contemporary wasn't being judgmental. And [to music categories. him]music wasn't judgmental ... Applications due Nov. 1, 1998. [it is] rhe Art which is trying to 401-A Highland Avenue make a statement whereby one Piedmont CA 94611 knows somerhing truthful is being Tel: (510) 547-7721 said; when you bring to the central OR SEND YOUR NAME, CHURCH/SCHOOl NAME, ADDRESS & PHONE TO: Fax: (510) 547-7449 rhought of rhe poet like Whitman E.R. MOORE CO•• 1810 W. GRACE ST. CHICAGO, IL 60613 • OR FAX 1-800-510-3572 e-mail: [email protected] rhe dimension emotionally rhat this E-mail: [email protected] website: www.hooked.neti-singers vision gives-is somerhing rhat no SEE OUR WEB PAGE: www.ermoore.com other An can do?

PAGE 18 CHORAL JOURNAL ~...... ------

Three strong characteristics of the texts found in Figures 1, 2, and 3 are all stacked and inverted on a C-major chord composer's style result from (1) the natu­ Whitman senings. Taken as a whole, the either successively or simultaneously. ral inclination toward melodic line (the similarities in these combined melodic (Similar bitonal writing appeared earlier music of Puccini and Verdi are emotional motives constitute a recognizable stylistic in his instrumental and solo keyboard favorites), (2) an acute, often humorous signature. A final relationship of melodic writing, becoming a stylistic sound in his sense of prosody, and (3) an ever-present motives and accompaniment and voice tonal language.) Melodic fragments of bass line. line may be seen in Figures 1 and 4, these tritonal chord configurations also energized by DelIo Joio's own "la, la, la" may appear in either choral parts or ac­ I take great care that when I write, text. companiment. This enharmonic writing I try to set everything so that each DelIo Joio returned to Whitman's po­ appears forbidding but is singable and [choral] line is very clearly [and] etry in Songs ofWalt Whitman as a reaffir­ effective-reiterating his insistence "that distinctly delineated so it has its mation of his faith in Whitman's capacity student and adult performers can deal place toward completing the idea. S for expressing the inexpressible. Its four with the challenges of contemporary cho­ movements are published separately: (I) ral music when written with care and Several Whitmanesque call-like words "I Sit and Look Out," (II) The Dalliance restraint." 10 of periodic appearance in DelIo Joio's of Eagles," (III) "Tears," and (IV) "Take Aside from the Hovey poem of Evoca­ works provide him with near career-long Our Hand, Walt Whitman." Of the tiom, other non-Whitman poetry also of­ "mottos" (the composer's word), ulti­ Whitman texts set by DelIo Joio, only fers intimate attention to mood expression mately becoming motivic. Two obvious that employed in "Tears" is unaltered. and sensitivity. The sensuous first-line examples of the composer's prosodic re­ Each movement features somewhat wider opening of Come to Me, My Love (Figure sponse to Whitman's lines are found in than usual splashes of chromaticism while 5) appeals to both direct and a more sub­ Open Road (Figure 1) and Jubilant Song still providing a tonal framework for liminal poetic reference of yearning. (Figure 2). These well-defined, syllabic voices. In concerto fashion, the moods of mottos often appear set against an homo­ each movement are alternated successively Bass ffi p a tempo phonic accompaniment, in alternation as movements I and III deal with aspects with fuller textures, or functioning as a of grief and regret, and movements II and r:'p ~ p r motive in a longer line. Moreover, these IV exude hope and joy. The 1970 Evoca­ Hel-lo! Hel-lo! Who-ev-er you are, mottos are easily employed imitatively tiom contained two separately published Figure 1. Song ofthe Open Road, mm. 13-14. throughout the texture. Several notable movements, "Visitants at Night," and melodies, especially in his Whitman set­ "Promise of Spring." The latter, as a state­ tings, show an obvious pentatonic em­ ment about the war in Southeast Asia, phasis by ignoring the seventh scale calls for a very singable and exciting des­ degree. And in DelIo Joio's hands an an­ cant-like two-part chorus of a young Lis - ten to a ju-bi-lant song, ___ gular, powerful style derives from this con­ people's high-school chorus. Preferably the Figure 2. A Jubilant Song, mm. 53-54. struction that, with an aggressive youth chorus is to be scattered through­ accompaniment, suggests open spaces and out the audience for their part. This a bold adventure. powerful work scored for both concert Alto p -=== band and orchestra. [~ - t J IjM" )p~,_))lt I I never fracture words. I think very In both movements of fre­ Evocations I give you my hand. ____ much in terms of prosody. As a quent harmonic and melodic turns of matter of fuct, my ideas (very often) phrase generate from chords whose roots Figure 3. Song ofthe Open Road, mm. 158- come from the rhythmic inflection are a tritone apart, e.g., an H-major triad 160. of the prosody. With the opening of Open Road, in setting the natural inflection of the word, there is no mystery, no groping for clariry, no pretense in its setting. Take "Lis­ ten" (from}ubifantSonJj. That has Figure 4. AJubilant Song, mm. 127-129. already determined what I would do. It's the way one says the word.9

Both mottos shown above later appear in Come to me in the night, __ their respective works as more fully devel­ PP ."---'" oped main themes, as well as transformed B . u melodic construction in other works. The resemblance of melodic motives in Fig­ Come to me in the night, __ ures 1, 2, and 3 is more than passing. The Figure 5. Come toMe, My Love, mm. 12-13.

OCTOBER 1998 PAGE 19 In contrast to the halting, intimate style and written in mock style. Initially con­ opening two measures feature a bass line of Figure 5, a more direct writing appears sidered too difficult by the publisher, the ostinato, although the work is ultimately toward the end of Come To Me, My Love composer added supportive yet sparse ac­ through-composed and sings as such. At (Figure 6). Dello Joio has released an un­ companiment, providing the work with times reminiscent of the swagger heard in bridled Romantic statement in the sim­ more manageable sections of vocal parts. Of Crows and Clusters and other works, plest of scalar passages. The melody is Here is the story of a mouse who began Fable is shifting and harmonically pro­ joyfully repeated in harmonic thirds. his task in life-that of gnawing the oak vocative in combining both major and Interspersed throughout his career, tree down. Presented first in imitation, relative minor keys simultaneously. The other smaller works of wonder, wit, and the "mouse" appears in the narrative parallel choirs at "the forest rooflet in the sharp vocal characterization reveal his in­ through paired voices (SIT andNB). The sky" provide another example of colorful genuity with forms where dramatic sto­ poem's namesake is first revealed homo­ text painting making this work masterful ries must be told. These storied and often phonically, followed by unison octaves and in both insight and expression. madrigal-like works are accessible and a subsequent fanning out to an F-major The triplets in Madrigal (1947) pro­ well-written. His insights into the rela­ chord. That he "began his task early in vide motion yet relax into a combination tionship of text, voices, and accompani­ life" is then repeated until the women's of homophonic duple and triple rhythms ment become readily apparent. These voices complain "he had not time to take to serve a syllabic texture. Common two­ short pieces encourage younger singers. a wife." Men's voices, of course, explain part imitative writing (SIT and NB) His capacity for vocal dramatization, text away in uncertain, if not resentful, hu­ quickly becomes predominantly homo­ painting, and syllabification, which ap­ mor that their acquiescence lies in the phonic in this setting from a Christina pears in sharper focus in his shorter works, fact that "he kept so busy with his teeth." Rossetti poem. Its text-"when I am dead, reveals his career-long affinity for sensi­ DelIo Joio suggests the light tenor solo my dearest, sing no sad songs for me"-is tive text settings. effectively could be sung in a tiny, mock­ both nostalgic and sad. It is more musi­ The intense, witty, and fragile A Fable like voice. (The obvious characterization cally restrained than either Fable or Of was adapted from Vachel Lindsey's "The of Fable encourages us to see similar Crows and Clusters, exhibiting a reaching, Mouse That Gnawed the Oak Tree Down" dramatic potential in other works.) The yearning melody similar in spirit to Come to Me, a choral gift dedicated to his wife, f con illtellsitli s Barbara. The accompaniment in Madri­ gal is more interlude-like than consis­ Yet corne to me in dreams that may live my life a - tent and sparsely frames DelIo Joio's f COil illtellsiui enharmonic yet tonal writing. At the cli­ A matic text "I shall not hear the nightin­ gale singing as if in pain, as if in pain," Yet corne to me in dreams that may live my life a - the emotional, compelling writing is set Figure 6. Come to Me, My Loue, mm. 36-37. in close block and parallel seventh-chord

~ _ '"" J ~ harmonies. , , '

PAGE 20 CHORAL JOURNAL In whatever way posterity might de­ Dello loio. Whether setting or adapting practical use in my mind. Many scribe his style, the heart and soul of his larger or smaller, more manageable texts, non-professional groups sing [my choral music combines a proclivity for he ultimately seeks opportunities for well­ works], and I use the accom­ powerful, descriptive poetry and the abil­ crafted, expressive text painting. When paniment in terms of giving them ity to capture and portray musically those guided by a lengthy original text or ad­ something to hold onto while not emotions and special characters. His craft venturous interpretation, he often em­ dominating the texture. [I] arrempt is remarkable enough to mark his choral ploys a sectional or "episodic" design not to overwhelm the chotus [with output as enduting and significant. His featuring an obvious return or further the­ Saint Cecilia, for example].11 style is direct and compelling and features matic development. Double bars or tempo a highly charged combination of stylistic and mood changes often separate these His keyboard accompaniments are of­ elements from most corners of this cen­ sections, resulting from Dello loio's inspi­ ten demanding (and he can play every­ tury that simply sound like "Dello loio." ration either to reassemble or re-write the thing he writes) yet idiomatic for the poetry. Such sectional changes often are instrument. Dello loio is quick to suggest That's the nature of my style of dramatically introduced with compelling substitution of keyboard accompaniment writing. It's entirely charged with rhythmic accompaniments that flow with if other prescribed resources are unavail­ emotional relationships to the text ease into and imaginatively support the able. For him, a creatively altered perfor­ (in discussion of a Whitman text). vocal parts. Regardless ofwhether motivic mance of his (or anyone else's) music is Take the lines "0 to realize space," material is returned, a "through-com­ better than no performance at all due "sing, dance, exalt"-these are only posed" effect usually is felt. This frequent merely to a lack of composer-prescribed words. Bur when music comes into multi-section structure then offers the accompaniment. the picture it epitomizes for me potential for wide narrative characteriza­ everything that one is feeling to an tion as the work unfolds dramatically. Other Style Traits exuaordinary extent. Even with its Normal imitative devices (augmenta­ In retrospect, his stylistic development complications, it can say something tion, diminution, etc.) usually serve a va­ appears in conrrast to younger composers very fundamental all the time; and riety of textures. In the 1950s and 1960s who moved in mid-century toward a mild I derive (emphasis his) my feelings his favored homophonic, syllabic settings avant-garde expression seemingly in search as a musician from this central were interrupted by two degrees ofimita­ of a style. With Webern and Schoenberg's thought that brings what I believe tion: those ofshort dialogue between char­ influence in the early decades of the twen­ only music could· do. And that is acters or voices and transformed primary tieth century and Stravinsky's increasing bring the un-expressible to the melodies. change to a semi-serialism, Dello loio's expressible. 13 musical language appears conservative (to Accompaniments an extent, along with Barber, Schuman, He urges us to get inside the music Of his more than forty choral works, and others). His is an expanded conserva­ and not shy from expressing the senti­ most require some kind of accompani­ tism, however, because of a language that ment suggested by the poem and its tex­ ment, usually keyboard. Longer works, ranges from a quartally altered tonal style tual mood. He has few inhibitions where and especially Whitman settings, often to outright serial construction (found in the employment of our creative and in­ indicate keyboard or some combination several significant orchesrral and keyboard terpretative possibilities are concerned. For of brass (and percussion). Woodwinds are works). Perhaps that very facility inspired example, he suggested that some (of his) used (thus far) only with strings and usu­ the consistency of his style in the decades music could be effectively choreographed ally in larger works. While his accompa­ just after mid-century. His body of choral if desired; that expressing sentiment is niments are varied, they consistently: (1) compositions provides important works not banal and ultimately practicing the share in motivic manipulation, especially of undeniable, unpretentious quality. process may deliver us to a dramatic truth; in imitative textures; (2) support rather that his popular Psalm of David might than dominate choral textures, except There are many dissonances in what serve a compendium to his style; that when appearing as introduction or inter­ I write, but they're not there Jubilant Song is usually taken too fast; lude; (3) exhibit strong rhythmic inde­ capriciously ... [they are there] to that he prefers writing about high spirits, pendence, he! ping produce an create more tension, to release more and the ideals of mankind. ever-changing depth of textural perspec­ tension. In rwelve-tone writing I'm Dello loio constantly emphasizes his tive; (4) share an equal role in dramatiz­ writing not in keys bur rather love and concern for others. For conduc­ ing the text and its potential for text tonalities, which keeps me from tors of this and the next century, he urged painting. Sharing the role of textual char­ being enslaved to a key. I start in that: acterization, thus, his accompaniments some keys, end in others. I can see may be intermittent, providing both sup­ some twelve-tone composers being They [we] refrain from trearing port and dramatic commentary. very faithful to their system, and it's contemporary choral music with the perfeccly logical on paper. Bur rarely kind of reverence that means they I don't have instruments going all am I moved to use such a system. 12 [we] perform it with a meuicality the time . . . bur rather a purely that impairs phrasing, breathing,

OCTOBER 1998 PAGE 21 CURRENT CATALOGUE OF CHORAL WORKS For this survey, both selected secular and' popular sacred works . are TIored. Publisher" http://www.ChoraIWeb.com abbreviations: .GS-G. Schirmer;CF-Carl Fischer; EBM-Edward B. Marks; AMP­ (208) 882-6760 Associated Music Publishers; TP:""":Theodore Presser. Note: All. o~tavos published by GS, EBM, and AMP areavai13.ble only through Hal Leollard. . . Choral Music Through the Internet View, Usten, Purchase and VOICING' Download Choral Music over SATB the Intemet Merryrnount' SATB, french hoin GS New this fall .... SATB,pi:lll0 c::F Solo Vocal Music and Handbell Music SATB,SSA< GS SAtE, piano CF SATB, strings, orass and the bending of the phrase. They SATB,piaito SAT~, pianolirp. [we] should simply treat music of . SA-TB,orchesrra contemporary composers as music SATB,piano and approach it as they would any . SATB, otchesrra other piece of music they liked. 14 SATB, piano'

NOTES I Norman Dello Joio, taped interview by author, 1989, East Hampton, NY. Pulirzer Prize-winning composer Norman Dello Joio was honored at the 1989 National ACDA Convention in Louisville, Kentucky, where rwo performance sessions of his music provided an exciting review of his contribution to American choral composition in this century. Along with Barber, Copland, Piston, and Schuman as "Artists Who Create the Nation's Besr Serious Music" (National Observer), Dello Joio is nored as one of America's important composers in this century. His comments quored here were graciously given and taped at the composer's home SATB; piano where I enjoyed the kindest hospitaliry .. 4-hand or orchestra' of Norman and Barbara Dello Joio. SATB,brass &" perc. SA'fB, brasS & organEBM 2 Norman Dello Joio, raped interview by SATB,orchestraor author, 1989, Easr Hampron, NY. piimo 3 Ibid. SATB,piano . 4 Thomas Baumgardner, Norman Delio Joio SATB, piano (Bosron: Twayne Publishers, 1986),30 £ SATB, rrumper SATB,.piano 5 Norman Dello Joio, raped interview by SATB, piano author, 1989, Easr Hampron, NY. SATB, cantor; 6 Ibid. congregation, 7 Ibid. organ 'AMP SATB; cantor, 8 Ibid. "congregation,. organ AMP 9 Ibid. SATB, orchesrtaM.1P 10 Ibid. II Ibid. SATE, piano AMP 12 Ibid. SATB; orchestra 13 Ibid. SATB; piano SATB,band 14 Ibid.

Si\TB, piano -C]- SATB;piano

. SATB,.pi:lll0 .' . TTBB; piano

PAGE 22 CHORAL JOURNAL ~......

CORAL RIDGE PRESBYTERIAN CHURCH FORT LAUDERDALE, FLORIDA TWENTY"" FOURTH ANNUAL CHURCH MUSIC EXPLOSION JANUARY 6~10, 1999

FACULTY AND WORKSHOP FEATURES • Alice Parker opens the annual Church Music Explosion with one of her well-known and wonderful "hymn sings." In addition to her hymn sing, Miss Parker will teach classes on composition and arranging for choirs. • Allen Crowell will teach classes in choir techniques and conducting. • Acclaimed virtuoso organist, Olivier Latry, Titular Organist of Notre Dame Cathedral in Paris, France, will teach masterclasses and workshops. Olivier will conduct four master classes on repertoire, as well as playa concert on Friday evening. Resident organists of Coral Ridge Church will teach service repertoire and service playing techniques. • Madeline Bridges will teach the classes on children's choirs-teaching techniques, voice building, repertoire, etc. • All facets of youth choirs will be taught by Terry Goolsby. • Classes in the art of handbell ringing and the Performing Handbell choir will be conducted by Arnold Sherman. • Robert Rucker will prepare and lead the daily chapel services for the CME, as well as teach classes in the philosophy and practice of church music, hymnody and drama, as it relates to contemporary church musicians of all worship traditions. • David Schwoebel will teach classes in piano and choral arranging. • "Meet the Composer" sessions will highlight the personalities and the music of Alice Parker, Randol Bass and David Schwoebel. • Closing "Festival of Praise", conducted by Allen Crowell, features the com­ bined Coral Ridge Chancel Choir (John L. Wilson, Director of Music) and workshop choirs, brass and handbells. Repertoire will include "Gloria" by Randol Bass, and conducted by the composer. • Five Choral Reading sessions, fellowship, wonderful food, Florida sun, AugsburgiFortress Bookstore, exhibits, and much more. The Choral Music of Hugo Wolf

by Peter Pocock

As a child, Hugo Wolf (1860-1903) loved celebrations. and syllabic text setting, limited repetition of phrases, voice One of his favorite festivities, the evening of Epiphany, in­ pairing, selection of the best poetry, sensitivity to the text as a volved the children dressing in costumes representing the Kings basis for form, chromatic inflection, and extreme dynamic of the East and traveling from door-to-door singing for coins. contrast. Wolf's interest in choral music stemmed from a back­ Wolf later employed the song they sang, a Styrian Christmas ground in church and school choir and a logical extension of carol, as the predominate theme of his choral/orchestral work his fascination with German poetry and song. The numerous Christnacht (Night of the Christ Child) (no opus). The young choral works he composed reflect his attraction to that me­ Wolf grasped the idea that music could dramatize and convey dium, beginning with his experimentation in choral composi­ thoughts through language. Eric Sams writes: tion during his student days.2

Wolfs mind was early concenuated on musical techniques The Student Years (1875-76) of characterization and aunosphere as well as expression. This short period produced over forty-five compositions, His creativity was deeply divided between the large-scale including piano works, a symphony, numerous songs, an op­ forms such as opera, tone poem, symphony, and the era, and almost a dozen choral pieces. Choral settings of two of smaller song-forms perfected by his great predecessors. 1 his songs, based on texts by Goethe, number among the earliest of these student compositions: wanderfied (Wanderer's Song), Music historians later connected Wolf with Schubert and op. 4, no. 1 (1875, lost) and Aufdem See (On the Lake), op. 4, Schumann as one of the finest composers of the solo song. no. 2 (1875, lost). The following year he wrote Die Stimme des Wolf's creative output, however, encompasses several genres Kindes (The Child's Voice), op. 10, for male chorus with piano other than the Lied. His compositions include piano works, accompaniment. At the request of Wolf, Hans Richter, a con­ accompanied and unaccompanied choral music, opera, sym­ ductor of opera, offered him some practical advice on the phonies, chamber music, and large choral/orchestral works. composition. He then reset the work for mixed chorus and His choral writing, covering three periods of creative activ­ plano. ity, features, among other compositional devices: homophonic That same year (1876) he wrote three other pieces for male chorus: 1m Sommer (In Summer), op. 13, no. 1; Geistesgruss Peter Pocock, Director of Music Ministries at the United (Spirit's Greeting), op. 13, no. 2; and Maified (May Song), op. Methodist Church of Valencia, Valencia, California, received 13, no. 3; and dedicated them to Philipp Wolf (his father). the Doctor of Musical Arts and Master of Music degrees in Then followed wanderer's Nachtlied (Wander's Night Song) (no Choral Music from the University of Southern California. Dr. opus) (lost) and Die Schone Nacht (The Beautiful Night) (no Pocock has conducted and lectured throughout Australia, opus) (lost) also for male chorus; together with 1m Stiffen England, Canada, and the United States. Friedhof(In the Quiet Graveyard) (no opus); Froh/iche Fahrt (The Merry Journey), op. 17, no. 1; Grablied(Grave Song) (no

OCTOBER. 1998 PAGE 25 Kapellmeister Choir Stools opus); and Gottvert1Yluen (Trust in God) works than he did in his songs and his

, __ Custom Designed & Built (no opus) for mixed chorus. later choral works. In these student works, regarded by In 1878 Wolf commenced his first Choir Stools many as immature, we see the "Wolf of composition for soli, chorus, and orches­ the Lied" as we know him today. Wolf's tra, Die Stunden Ven-attschen (The Hour's early compositions reveal at least three Rustle By) (no opus). He never completed significant features: his keen interest in it. Scored for soprano and tenor soloists, the text, his choice of quality poets and four-part mixed chorus, and large orches­ poems, and his use of chromatic inflec­ tra (3222 4230 percussion and strings), Kapellmeister Enterprises, Inc. tions as a coloristic device. He used chro­ the manuscript ends at measure 173 with 59932 Tamarack Dr.• St. Helens, Oregon 97051-(503) 397-4773 maticism to a lesser extent in his earlier only half the words set. In the spring of that same year he met Vally Frank. Wolf fell instantly in love. For Vally, however, love did not go so deep. She liked to be courted and wooed, Recently published by popular demand, but never wished love to become a source A CAN£4£4 FOR EASTER AND ASCENSIONTIDE: of pain or grief She had no use for con­ stant self-sacrificing love. Despite Wolf's THE unusual and sometimes objectionable de­ meanor, a strange and unstable relation­ RESURRECTION ship developed between them, lasting almost three years. AND ASCENSION The Post "Frank" Years OF OUR LORD (1881-1883) In late March or early April 1881 Vally Words and Music by Canadian Singer and Composer Frank wrote to Wolf terminating their REX LE LACHEUR three-year relationship. Wolf suffered in­ tensely. Walker comments: This melodious setting of the Easter story from the arrival of the women at the empty tomb to Christ's triumphant ascension Almough he had not seen Vally for into heaven is scored for organ and piano, SATB chOir, me past six monms he was so far a combination of four female and three male soloists plus a spoken from forgetting her mat me shock Evangelist. Several shorter sections within the work are suitable for use independently during Easter or at other times of the year. of his dismissal almost drove him out of his mind. Heartbroken, he During his lifetime the composer had over 100 published works, packed up wim tears her letters and both sacred and secular. As a singer, voice teacher and choral a few pitiful souvenirs and posted director, Rex Le Lacheur was dedicated to providing music that mem to Vally, receiving in return would satisfy his singers and move his audiences. his own letters to her, which he This Cantata is a wonderfully spiritual experience and has been burnt. 3 performed in Christian Churches of all denominations.

Available in il1usic Stores across Canada A few days later Wolf set six Eichendorff $7.95 a copy. $5.50 in u.s. currency poems for mixed chorus. The deeply mov­ ing Sechs Geistliche Lieder (Six Sacred Each order includes one CD or one cassette Songs) (no opus) reflect the pain and suf­ Ont: Leslie Music Supply Inc. Oakville (905) 844-3109 fering he was feeling at this time. The St.]ob/l's ii'Iusic lld,TolVnto (416) 785-5000. Granata Music, Ottawa (613) 727-0727 choruses form a cycle "within the frame­ Que: Arcbambault Musique, Montreal (514) 849-6201 Nfld: Fred's Music, St.]ob/l's (709) 753-9191. N.S: Lawley's Music Stand, work of declaration, Aufblick, and a reaf­ Halifax (902) 455-1928. N.B. Monis Music, St.]olJn (506) 672-5556 firmation, Erhebung, of religious faith."4 M"n: Canadian Choral Centre Inc., Winnipeg 1-800-665-8995 In the next to last piece in the cycle, S&lSk: Cobb Swanson Music, Regina (306)56~3255 Ergebung (Submission) (no opus) Wolf Alta: Scott's Music Centre Ltd., CalgaJJ' (403) 24~9 191. finds solace and submits to the will of Rideau Music Ltd., CalgaJJ' (403) 26~6062. Oliver Music Co. Ltd., Edmonton (403) 454-3594. B.C. Ward Music, Victoria (250) 385-3413 God: Ward ii'Iusic, Vancollver(604) 682-5288. Thy will, oh Lord, be done! The land is dark and silent. -

PAGE 26 CHORAL JOURNAL ~""""""""------~1

In the swirling winds with The Years of Fulfillment unfinished), Der Feuerreiter (The Phan­ shuddering, (1886-92) tom Rider) (no opus) (1888, orchestrated with shuddering I behold your A rich output of songs and numerous 1892), E/fenlied (Fairy Song) (no opus) hand. choral/ orchestral works characterize the (1889, orchestrated 1891), and Dem years of fulfillment. Vater/and (The Fatherland) (no opus) 0, take pity on us sinners, In the winter of 1886 Wolf began his (1890, orchestrated June, 1890, revised take pity at the judgment! first major choral/orchestral work 1894, 1897, and 1898). In deepest pain I bow, Christnacht (Night of the Christ Child) Christnacht takes its text from a com­ In deepest pain I bow my face to (completed 1889). Then followed plete poem of the same name by August the dust! Wiichterlied aufder W"artbUlg(Watchman's Graf von Platten (1796-1835). Wolf's Song of Wartburg) (no opus) (1888, friend, Friedrich Eckstein, suggested that Thy will, 0 Lord, be done!

Walker concludes "this was the piece which was sung behind the altar of the Votivkirche, with shattering effect, as Wolf's own mortal remains were con­ signed to the earth after intolerable suf­ ferings."5 The Sechs Geistliche Lieder end with

Erhebung (Exaltation) (no opus): proud(1' prl'selll.~

Let the surf come in and break as it is an unforgettable artistic experience! desires, Compete and win just by participating in you need only say one word, these professionally produced events. and the abyss becomes still. And breaks the last bridge, Amateur to semi-professional. female. male and mixed. to you, faithful who stand, children and YOllth, gospel and chamber choirs. prayer alone lifts me above hardship jazz and folklore enscmbles and happiness. 1999 EVENTS SCHEDULE The text affirms the power of prayer to heal the wounds oflife. Mar 28 - 31 Hungary 7'h In!,1 Choir Competition. Budapest Apr Italy lSI Int'l Choir Festival Grado. Adria Despair still evident in his life in Sep­ 6 - 11 Jun 3-6 Germany 2nd Int'l Mendelssohn-Bartholdy Polhcilll tember 1883, Wolf writes to a friend, Jul I - 4 Hungary Int'l Music Festival Eger (Competition Henriette Lang: Symphony.13rass & other instruments. cnsembles) Oh, I shall learn yet to despise .Jul 2-6 Hungary Int'l Gospel-Festival Eger Budapest mankind, and with good reason. Jul 7 - 11 Italy 1st In!,l13rass Competition Salsolllaggiore Lies and deceit, professional Terllle nd jealousy, against which the devil Jul 14 - 18 Italy 2 In!,1 Choir Festival" Giuseppe Verdi. himself cannot make his way, turn Salsolllaggiore, Terme (Festival Competition) our to be my dear, kindly disposed, Jul 21 - 25 Germany I sl Int'I Johannes 13rahms Choir helpful, self-sacrificing friends. 6 Competition Oct 20 - 24 Italy 3'd IN ... CANTO SUL GARUA. Riva del The subconscious limitations of these Garda years of indecision reflect in Wolf's re­ Oct 20 - 24 Italy 2nd Voci dal Garda, Salo (lnt'l Choir duced output. In addition to the Sechs Competition and Festival) Geistliche Lieder, he composed only a Nov 18 - 21 USA 1st Int'l Choir CompetitionlFestival handful ofsongs, a canon, and W"ahfspruch of Greater Ft. Lauderdale, Florida (Motto) (no opus) (1883?, lost). Late in 1883 he again turned his hand to com­ For additional information & our upcoming events call or write to: posing for orchestra. Penthesilea (no opus), 2080 S. Ocean Drive. Iiallandale. FI 33009 a symphonic poem after the tragedy of Tel: (954) 456-5630. Fax: (954) 456-5635. Toll Free 1-888-820-5630 Heinrich von Kleist, was completed in 1885. E-Mail: l!Jlt<.[gM/)icllJJ~~.uW! Website:http://www.musica-mundi.com

OCTOBER 1998 PAGE 27 Wolf should "write a work similar in its throughout his songs. In The Son%! of festive mood to Johann Sebastian Bach's Hugo Wolf, Eric Sams identifies more than Christmas Oratorio."7 He started sketch­ This work shows Wolf forty of these techniques. They range from ing the parts on Christmas Eve, 1886. specific associations with individual keys, Wolf wrote to another friend, Oscar creating amusement with chordal progressions, and tonal structures Grohe, a few weeks before the premiere to those elements expressing emotions, performance of April 9, 1891, telling of conversation and clever nature, music, and light.9 the principal themes of Christnacht. He Sams proposes the patterns have two describes the theme depicting Christ(Fig­ inflections depicting the main funcrions: to symbolize feeling and ure 1) and the Styrian folksong, childlike to create structure. Several complicarions, in character, appearing in the woodwinds, nymph like character of however, arise: later picked up by the chorus of the faith­ fol(Figure 2). Wherever the Christ theme the poetry. 1. Definition of the motifS becomes appears in the opening few measures of difficult. Christnacht, the faithfitl theme follows it 2. Certain motifs evidence Wolfs at two-measure intervals. Wolf concludes depicts a fairy (soprano soloist) engaging very personal style, while others by telling Grohe how the work builds to a in a discussion or dialog with the chorus. originate in well-established thundering conclusion. "With the full The fairy sings the verses, and the chorus musical tradition. weight of the orchestra, it unfolds with sings the refrain. This work shows Wolf 3. In particular circumstances, clear tongues of flame the dogma of God made creating amusement with conversation relationships exist berween the man, and of salvation."8 and clever inflections depicting the motif and the text; in different Scored for soprano, alto and tenor so­ nymph-like character of the poetry. This cases the motifs seem be­ loists, double chorus and large orchestra was a side of Wolf seen rarely in his songs wildering. 1o (3222 4331 rimpani, harp, and strings), and not at all in the other choral works. Christnacht comprises only one move­ In 1888 Wolf composed Del" Feuel7"eitel" Sams suggests that "each is open to ment, divided into seven secrions or scenes for soprano soloist and piano. Because verification by direct experience of the corresponding to the divisions in the text. this setring appeared extremely taxing for music, and all are worth close attention Based on a section from the second act soloist and pianist alike, in 1892 he set it for whatever they can tell us about the of Shakespeare's Midsummer Night's for SATB chorus and large orchestra, com­ meaning or interpretation of a particular Dream, Elfenlied (Fairy Song) (1889- parable to that used in Chl"istnacht. The song."ll 1891), Wolf's second composition for so­ transcription follows the original setring IfWolf used these compositional tech­ loists, chorus (SSAA) and orchestra, almost bar-for-bar with a few changes niques extensively, the motifs should con­ made to the text and vocal line. Del" ceivably be found in his compositions of Feuen·eitel"'s success is probably due to the other genres. Since Sams restricted his fact that it is a transcription of a Lied. By study to the solo vocal genre, a compari­ now Wolf was very comfortable with the son can be made with only one other Lied as a composirional genre. vocal genre, choral music. To investigate the occurrence of these Horns The Song Motifs motifs in genres other than the Lied, I I~t J As Wolf's composirional style matured, examined Wolf's choral/orchestral work, he developed and adapted a series of mo­ Chl"istnacht, discovering within the the­ Figure 2. Faithful tifs, or compositional techniques, evident matic and harmonic material seventeen of the forty motifs evidenced in the songs. The song motifs found in Chl"istnacht Table 1 include Worship, submission, and self­ Key-related "song motifs" in the Introduction surrender; Smallness; Laughter; Unrest or unease; Freedom or release; Contentment; Measure # 1-24 25-33 34-49 50-55 60-95 Singing; Love; Companionship; Mystery; Harmonic Narration or reflection; Light (two differ­ 6 Structure A:V N IV VI I v. ....V I ent forms); Soothing and stroking; Wield­ ing or carrying; Serenity or assurance; and Actual Keys E B~ D o (H) E Euphoria. For the purposes of this article I Tritone I I Augmented triad I G~ (H) I I will refer only to a selecrion of the mo­ Motif 5-Unease 24-Light (I) 40-Euphoria tifs. The harmonic structure of the intro­ ducrion demonstrates several-of the mo­ tifs. As did Schubert and others, Wolf

PAGE 28 CHORAL JOURNAL regarded specific keys as creating certain A similar instance of Light, found a few that I consider as worthy of motivic sta­ moods and effects. Sams indicates Wolf measures later (mm. 180), corresponds tus. Towards the end of the Christnacht, regarded A major as a bright, or spring­ with the text: "a star raised up over all the Wolf brings back a textually based idea like tonality. The principal key of world." Here the sopranos and violins seen briefly earlier: 2 3 Christnacht, A major, does not occur un­ rise to b and b , respectively, for three til the entrance of the shepherd's theme measures, while the flutes play in the up­ Already I read in the distance the by the orchestra at m. 120.12 per reaches of their register. Both of these fear of the coming day, Opening in E major (the dominant of examples conform to Sams' description I hear peoples tread the way, A), at m. 25 Wolf moves briefly to B~ ofMotif25, Light (II). Destruction burdens every breath. major (the Neapolitan sixth of A and a The final example of the use of song tonal progression of a tritone). The key motifs corresponds with Motif 1, Wor­ The key signature changes to B~ minor changes to D major and then G1 major ship, submission, and selfsurrendel: Imme­ (m. 310), the relative minor ofDI major, within another twenty or so measures (G~ diately following the previously and the "Angel" (narrator) returns, telling major is the enharmonic equivalent of H mentioned representation of Light, Wolf of the fear and destruction "burdening major and the chord obtained if you sub­ introduces the "Choir of the Shepherds," every breath," beneath which a rhythmic stitute a major chord for the H minor changing the register from the highest ostinato motif is introduced signifying the chord, the sixth degree of the scale of A end of the female vocal range to that of "peoples tread" (Figure 4). This pattern, major). Returning to the dominant, Wolf the male. The text suggests worship: ''As augmented by two additional patterns in uses extensive chromaticism as a transi­ though from the gates of heaven they the horns (Figure 5) and the timpani tion to the first entry of the soloist and bow low to touch the earth." The cello (Figure 6), builds to a tremendous climax the end of the introduction. This tonal and double-basses play the equivalent of progression, important for the use ofsong Motif 1, Worship (Figure 3). Cello motifs, reveals: While examining the harmonic and 17)= #l# HEll ttl IT ttl ttl r melodic content of Christnachtit becomes Motif 24, Light (I).The use of evident that Wolf used other techniques Figure 3. Worship passages with tonal progressions spanning an augmented triad. The movement through the keys of BI major, D major and 0 (H) major (an augmented triad) berween mm. 25 and 50 of the introduction, follows the pattern of Motif 24, Light (I). Figure 4. Peoples Tread Motif 40, Euphoria.The use of 0 (H) major at m. 50 evokes feelings June 21-June 25, 1999 of "Euphoria" or "Extreme a. Elation." Sams characterizes this Des Moines, Iowa USA tonal motif as "wholly personal and o peculiar to Wolf." • Explore conduding, A second form of Light used by Wolf rehearsal, and vocal portrays light emitted at the same level of produdion techniques. intensity by using high sounds, hovering • DiscoveT the relaxed, motionless at the same level. The text of natural delivery of the third section of Christnacht suggests Tapiola's sound. this form of Light. A lone shepherd, sur­ rounded by representations of Light (the • Earn college credit while 1st violins sustaining open octaves on e2 attending the workshops. 3 and e , moving to ~ and ~ four measures For additional information and later), opens the scene singing: Workshop registration motenols contocl:

What do I see? Des Moines Children's Choruses Around me hovers a dizzying vision, 525 East Ninth, Suite 8 A glowing band of light Des Moines, Iowa 50309 moves through the azure of eternity Phone: (515)262-8312 Fax: (515)262-8359

OCTOBER 1998 PAGE 29 from mm. 324-330, then dying away for Coupled with the song motifs docu­ the next entry of the ''Angel'' at m. 333 mented by Sams, those found in singing the text: Christnacht give evidence that Wolf con­ Figure 5. Horns sistently applied these motifs from his The tired earth desires a fresh songs to his choral music. Many of them· morning. have their roots in the poetry; others sim­ Timpani At this child's command, ply create a mood, feeling, or atmosphere. "Become," In these works the mature Wolf appears OJ 19: t J. J. OJJJJ. o I the earth springs into youthful lll: blossoming. 1. the accompaniment medium Figure 6. Timpani Following the text "desires a fresh morn­ (whether orchestra or piano) that ing," the key changes from B minor to A complements the vocal lines to major (the keys Sams suggests Wolf re­ produce an inseparable whole, 'r J'JUSU:A~ gards as a bright tonality or springlike). 2. the inter-relationship of the While all of these compositional tech­ poetry and the music, l\.() 1l1.L~I (~.L~® .~ niques have their roots in the text, none 3. the extensive use of chro­ Your exc:.lu=ive =ourc:.e for ~omanian of those mentioned fall within the pa­ maticism, and c:.horal mu=ic:. and beyond_ rameters set by Sams as being "song mo- 4. the economic, yet creative use of ,r. " ~ CATALOG and tus. thematic material. SAMPLER TAPE! Within this later section of Christnacht, two compositional techniques-the por­ This article gives an overview of the P. O. Box 27830 trayal of a large body of people walking or choral music of Hugo Wolf and reports Seattle, W A 98125-2830 Phone· (206) 364-4225 treading and the changing of key to cre­ briefly on the close examination of one of Fax. (206) 364-4569 his significant choral works, Christnacht. E-m.ail • [email protected]. ate a feeling ofbrighrness-reflect a small sample of Wolf's tools-of-trade. Many of his compositions, outside the genre of the Lied, await those seeking an interesting, worthwhile study.

NOTES I Eric Sams, The S01lgs ofHugo Wo(f(London, Eulenberg Books, 1983),2-3. MUSICA 2 Lothar Hoffmann-Erbrecht, "Wolf, Hugo A collection of a cappella music by American composers, (Filipp Jakob)," in The New Grove including Rene Clausen, Randall Thompson, Dictionary ofMusic a1ld Musicia1ls, 1980, Morten Lauridsen and Charles Ives, 482. and featuring "Musica" by John Alexander and 3 Frank Walker, Hugo Wolf A Biography "Come to Me in the Silence of the Night" by James Hopkins (Princeton, NJ: Princeton University (both premiered atACDA's National Convention in March, 1997) Press, 1992), 113. 4 Ibid., 114. Also available - 5 Ibid., 115. And- 6 Ibid. Just in time for the Holidays! 7 Hans Jancik, trans. Eugene Hartzell, score I N G .. notes of Christnacht by Hugo Wolf, DEL (Vienna: Musikwissenschaftlicher Verlag), XI. 8 Ibid., XI. 9 Sams, 18 passim 10 Ibid., 18. II Ibid. "Songs of Eternity" 12 Ibid., 12. (presented at ACDA 's Western Regional With Brass ensemble and Convention in March, 1996) -CJ-

Can (714) 662-2345 Today! email: [email protected] web site: _.pacific-chorale.org

PAGE 30 CHORAL JOURNAL ~"------~4

! 1999 ACDA NATIONAL CONVENTION CHICAGO - FEBRUARY 24-27 HICAGOANS HAVE spent generations creating the most beautiful parks and lakefront recreation areas, designing an awe-inspiring skyline with some of the world's tallest buildings, supporting history-making sports teams and world-class Csymphony and opera companies, and giving theater professionals known throughout the world a place to call home. Chicagoans also have actualized big plans by opening the finest universities, medical facilities, museums, and cultural institutions. In keeping with this tradition of excellence, Chicago will make no small plans when it comes to hosting the 1999 ACDA National Convention, ' ,._, February 24-27. Located in the center of the U.S. on the shores of Lake Michigan, Chicago is a vibrant, world-class city rich in history. Chicago is easily accessible by air through O'Hare International Airport and through Mid­ way Airport. O'Hare International Airport greets passengers in seventeen different languages and processes 4,000 arriving passengers each hour, mak­ ing the city a hub for international commerce. Famous for its abundance of museums, zoos and cultural attractions, the city boasts 54 museums, from art to aquariums to science to a multitude of ethnic museums. There are more than 120 theaters and musical/performance venues in Chicago. For the sports lover, Chicago is home to the NBA Champions-the Chicago Bulls-as well. as the National Hockey League's Chicago Blackhawks. State Street-that Great Street, located in the "Loop," a distinct area of down­ town Chicago surrounded by elevated train tracks-is known as one of the world's most famous shopping districts. For more shopping there is the Magnificent Mile of North Michigan Avenue, or the North Pier, a reno­ vated warehouse featuring a complex of unique specialty shops, diverse restaurants and night­ clubs located on the Chicago River near Lake Michigan. Or try Oak Street, where more than 70 exclu­ North view along Lake Shore Drive. Courtesy of the Chicago Convention & Tourism Bureau, Ron sive boutiques and sa­ Schramm, photographer. lons feature the latest fashions from Paris, London, and Milan. Chicago's lakefront was developed as park space and has become the world's loveliest lakefront park system, dotted with cultural attractions. The city boasts 360 first-class hotels throughout the metropolitan area, with more than 26,000 sleeping rooms in the downtown area alone. The Hyatt Regency Chicago, headquarters for the 1999 convention, is in a prime downtown location near the breathtaking shores of Lake Michigan. It stands at the heart of transportation, commerce, entertainment, and shop­ ping in the city. With over 200,000 square feet of public function space, including sixty meeting rooms and a 70,000-square-foot exhibit hall, it is an ideal site for our national convention. The convention ... you'll not want to miss! The overall quality of the 29 auditioned choirs has never been better. Chosen by taped audition from some 300 entries, the choirs are representative of the best of the choral art in the U.S. and Canada. Three Honor Choirs will showcase the talents of Picasso sculpture. Courtesy of the Chicago selected singers, directed by outstanding conductors. The Women's Honor Convention & Tourism Bureau, Michael W. McQuerry, photographer. Chorus, a first for our national convention, will be co-directed by Morna Edmundson and Diane Loomer. The Boys' Honor Choir will feature 250 boys selected from some 500 auditionees and will be directed by Harvey Smith. The High School Mixed-Voice Honor Choir will be directed by Jing Ling Tam. These 250 singers were selected from an incredible field of 1,700 candidates. (Continued on p. 64.)

OCTOBER 1998 PAGE 31 , .i IN MEMORIAM Fred Bock (March 30, 1939-July 31, 1998)

RED BOCK, nationally known Music Company), and with his wife, Lois, composer, publisher, arranger, or­ wrote Creating Four-Part Harmony (Hope Fganist, and choir director died July Publishing Company). 31, 1998, at the age of fifty-nine from His involvement with choral music complications of emergency kidney sur­ publishing began in the 1960s when he gery. At the time of his death, Bock was worked for Word, Inc. After his tenure music director at First Presbyterian there he founded several publishing com­ Church of Hollywood, a position he held panies of his own. The first, Gentry Pub­ for more than fifteen years. Prior to that lications, continues to publish choral he was music director at Bel Air Presbyte­ music for schools. The Fred Bock Music rian Church for fourteen years. Company publishes church music for Born on Long Island, New York, Bock choir, keyboard, and other instruments. received a B.S. degree in Music Educa­ During his lifetime Bock also owned tion from Ithaca College, Ithaca, New Raymond A. Hoffman Co., which York, and an M.M. degree in Church published operettas for elementary Music from the University of Southern schools, and H. T. fitzSimons Co., pub­ California in 1962. In 1986 he was lisher of Gabriel Faure's Requiem. awarded a Doctor Musica Honoris Causa Bock served as president and secretary degree from Taylor University, Upland, of the Church Music Publishers Associa­ Indiana. tion and was on ASCAP's Writer's Advi­ A prolific composer and arranger with sory Board. He was also a member of the more than four hundred compositions in American Choral Directors Association. approach to life. Fred lived every print, he composed choral music as well It would be difficult to find an Ameri­ day "on purpose.... " Fred would as instrumental music for keyboard and can church musician who has not been walk around a convention, a trade other media. An expert on church music, affected by Bock's work. According to show, or a city, and would always Bock was editor and publisher of Hymns Timothy Sharp, editor of the Choral say to me, "There is an idea here, for the Family o/God, first issued in 1976. Journal's Hallelujah! column and a long­ somewhere." This was the creative The nondenominational songbook, time Bock friend, he was a musician who church musician I knew in Fred popular for its inclusion of traditional knew the value of diversity. This diversity Bock. May his ideas and hymns such as "How Great Thou Art" is evidenced by the fact that both Ralph lighthearted seriousness live on and "In the Garden," has sold more than Carmichael and Paul Salamunovich at­ with us as we remember his spirit three million copies. Bock also edited the tended his memorial service and that trib­ and draw from his enormous hymnal Worship His Majesty (Gaither utes to the Bock legacy came from the creativi ty. Theodore Presser Music Company and Bill and Gloria Gaither. In a tribute to Fred Bockis survived by his wife, Lois; We ore a Vienna-based group tour organi­ Bock appearing in the August 1998 issue his two sons, Stephen and Jonathan; his zation specializing in customized concert of Sacred Music News & Review, Sharp mother, Louise Bock; and a sister, Karen tours for American choirs and choral groups in Great Britain and Central and Eastern wrote: Kimbrough. Contributions to the Fred Europe. MUSIC AROUND THE GLOBE combines Bock Memorial Fund may be made to mission with the enjoyment of cultural and It was Fred's lighthearted approach The Center for Worship and Arts, Fuller musical highlights. to most evety siruation that will live Seminary, 135 North Los Robles Avenue, For more information, please contact our on with all of us. Even in Pasadena, California 911 0 1. MAG European office in Vienna, Austria: confrontation, Fred's winsome Fax 011-43-2243-37731 personality and sense of fairness always seized the moment and the or our U.S. representatives at: day. A phone call from Fred would 3 Sweet William Retreat Savannah, GA 31411 begin with a joke on his end, and Telephone 912/598-0285 thanks to that Long Island accent Fax 912/598-3746 of his, he never had to identify c",'(;, Allo~ himself.... Fred taught me many lessons, not only about publishing, ~BI'~ \ ',I~~ ~-G'LO~ but more importantly, about an

PAGE 32 CHORAL JOURNAL We were privileged to share in his faith and his gift of song. And although we will miss him greatly, we rejoice in what he has left behind, his musical and spiritual legacy.

The family has created a memorial fund in Fred's honor at Fuller Seminary. Contributions may be made to The Center for Worship and Arts, Fuller Foundation: Fred Boell Fund 135 North Los Robles Ave. • Pasadena, CA 91101. Ch ral Conductors Haydn has a few choice words l&tly I would a6k you to ob6erve 6trictly the tempi ob all the aria6 and recitative6 ... 2 nd1y bor the overture

all you need to play i6 an allegro and arraclante~ .. he'd like to share 3rdly you mu6t ob6erve that the acco~pani~;mt 6hould not enter untilthe6inger ha6 quite;bini6hed - . with you ... hi6 text. even though the 6core outen6ho¥J6the contrary ...

4 rth1y the borte6 and piano6 are writtehsorrectly throughout. thf, " and 6hould be ob6erved exactly ... 5 \'~~y. I have oUten been annoyed at certain violini6t6 in variou6 c0l1celt6, thL ]osephHayd'n who ab60lutely ruined the 6o-called tie6 ... 6 y I would a6k you to U6e two player6 on the viola part throughout ... AND THE CLASSICAL CHORAL TRADmON 7thLy. ib.you have to copy two 6et6 ob Jiolin part6. the copyi6t 6hould 6ee that they do not fum their page6

at the 6ame time ... 8th1y I 6ugge6t tlwtthe two bOy6

in particular have a clear 9thly I hope bor at lea6t tJ:t~e:{t,j; a week bor the entire work ... 1():.; .. ", the bUMoon can be omitted ib ab~ti~~L_ /:illt I would rather have itpre6ent.".·~'fnfitLy· I a6k ~'''''- ~-; "-:;" "/'~'>'~' " ' everyone, arr d'e6pecially;the mu6i~(. ....• :: '~;:<--:.:""·2;~,' ~ my reputation a6. well a6 rhe[(bui~;'f?;b};J;~';;'0;

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The Good-Hearted Cantor

by Margaret Boudreaux

EPERTOIRE SELECTION is a terrifying that a large number of audience How involved are our audiences, re­ lifelong adventure. In many ways members fainted or had convulsions. This ally? Just what is it in which we wish R it is the most important thing we resulted in a subsequent ban on such per­ them to be involved? How effective are do. The quality of our repertoire defines formances. That's not only a very effec­ we? What are we trying effectively to do? not only the quality of our programs. For tive chorus, but a very involved audience. Are we even thinking of our audiences? better or worse, repertoire selection will Not many of us have had general faint­ Why do choruseslcb,Ciirs exist and per­ profoundly affect the attitudes and aes­ ing or convulsions in our audiences be­ form? What is theii- 'function in society? thetic feelings of our singers and audiences. cause of our terrifying performances. As choral directors, What is our function This is not only true during the short time Perhaps a few choristers have fainted over in society? Do we have a function? Do we spent in performance, but can color the the years from standing too long under ever think about that? What is our place ways in which people respond to music hot lights, but the sort of audience reac­ in our specific community? Do we have a (and each other) for years to come. With tion described by Aeschylus might be community, or do we find ourselves in a that in mind I would like to share a few more expected at rock concerts than a context impossible to define? Have we thoughts I have collected over the years. choral presentations. Not that we would tried to understand our context? According to Bulfinch's Mythology, a want to have an ambulance ready every The choral experience is by nature a chorus of fIfty performers representing time we perform, bur the thought does community event. It possesses similarities the Furies in a play by Aeschylus were so fire the imagination. to the sacred concept of communion, a

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OCTOBER 1998 PAGE 35 shared meal representative of mutually Praise him with the timbrel and accepted beliefs and deeply personal hopes . . . while these poweiful dance: praise him with stringed and desires. The choir "serves" music and instruments and organs. words from a nearly limitless expressive ''musically empathic" Praise him upon the loud cymbals: fountain of human cultures and historic praise him upon the high­ eras. The audience "receives" this banquet experiences might be sounding cymbals. and may respond as one body with emo­ Let every thing that hath breath tional demonstrations ranging from open expected at outstanding praise the Lord. Praise the Lord! weeping to ecstatic applause. Each indi­ vidual member of the audience takes peiformances, they are To achieve that sort of intensity in home that which is most valuable for that their diverse venues, choral musicians for person at that time. Individual choral just as prevalent (if not centuries have searched for appropriate members orren experience these same literature and programming formats. Any­ things, though more intensely. Singers more) at rank amateur one who has done this for very long knows (and orren audience members) exposed it is not easy. Effective programming and to quality choral situations will never for­ situations. repertoire selection requires patience, sen­ get specific songs and moments as long as sitivity, a willingness to maintain enough they live. However, they seldom can humility to have an accurate sense of one's own place in the community (which can (Continuedfrom p. 3.) clearly explain why those experiences were be a challenge), and a good sense of humor. 0) Service to chapter members so powerful. Michael Praetorius 0571-1621) through projects that directly benefit One fascinating aspect of this phenom­ understood the crucial role that reper­ the student members in developing enon is that while these powerful "musi­ toire and musical flexibility played in the insights and skills necessary for a cally empathic" experiences might be building a healthy choral community. In successful choral musician. (2) Ser­ expected at outstanding performances, the final years of his life Praetorius wrote vice to choral music through activi­ they are just as (if not more) prevalent at extensively and published numerous vol­ ties that in some way advance the rank amateur situations. This is particu­ umes of motets in an attempt to help his field of choral music, either as a di­ larly true in small churches or communi­ contemporaries understand the new (Ital­ rect benefit to choral musicians, or to ties where a deeply spirited enthusiasm ian) styles and how they might best be the public perception and under­ can playa far more important role than used in their own situations. Although standing of choral music. (3) Service musical accuracy. In other situations the his instructions were exhaustive in detail, to the institution that enhances and choral experience can be bland and dry, he made a point of capturing the most strengthens choral music education leaving both audience and singers with vital aspect of a choral director's personal­ within the institution or in some way the vaguely guilty sensation that they ity with a simple phrase in his introduc­ benefits the educational program on "ought to have liked this." Deep down tion to the Polyhymnia caduceatnx(1619): the chapter's campus. Nominations inside though, they all know that nothing for the Outstanding Student Chapter really happened. This is not hard to un­ Hopefully the good-hearted cantor should be submitted in writing no derstand when something goes badly. But and musician will remember the later than January 1, 1999, to Scott what causes audience (or singer) emo­ best of these methods and take Dorsey, National Chair, Youth & Stu­ tional indifference when the concert was them as suggestions and directions dent Activities Committee, Depart­ performed well, at least technically? how other (similar) concertos may ment of Music, Mount Union The answer lies in the relationship of be performed. (Translation by this College, Alliance, Ohio 44601. Ad­ the choral organization to the community author) ditional information and details can in and for which it sings. The search for be found in the August 1998 issue of that sense of community, the desire for a Today, just as then, the key words are the Choral Journal, page 43. communion with other people or with a "good-hearted cantor." I would suggest The National R&S Chair is elected power outside of normal human sensa­ that community involvement, a sense of by the membership to a four-year tions, is perhaps the prime reason why communion, can be achieved in choral term of office. This fall the member­ people sing, or why they play instruments programming if the "good-hearted" con­ ship will receive mail ballots to select and dance and recite poetry. That musical ductor is willing to (honestly) ask two the person for this position, with the search is as ancient as can be imagined, as questions: new term of office beginning July 1, evidenced by Psalm 150: 1. What is this community? Who are 1999. The nominees for National my singers? What are their backgrounds? R&S Chair are William McMillan, Praise him with the sound of the What can I musically learn from them as EI Paso, Texas, and Barbara Tagg, trumpet: praise him with the they learn from me? Who comes to my Syracuse, New York. psaltery and harp. concerts? (Ask the same questions as James A. Moore above.) Every time we prepare a concert

PAGE 36 CHORAL JOURNAL Musica Mundi, Inc., is an established quality we must ~k if the repertoire is truly serv­ tion, that is, making magic. Choral sing­ concert touring company serving choirs ing the community as well as it might. ing can perform the magic of uniting We have an obligation to expose our sing­ diverse voices, determined individuals, ers and audiences to the best literature into one harmonious body of sound. It available for their abilities, so they might can then unite the audience into that uni­ learn and grow. We must also learn from fied spirit, and through repertoire that is them, or we will never actually be a part broad and deep, the whole world and count­ of the community ourselves. less past generations can enter into com­ 2. What is the meaning and value of munion in that magical moment of song. "professional" and "amateur" musician­ As "good-hearted cantors," part of our ship in this community? Professionalism job is to make that magic happen. Failure is valuable and provides high levels of to recognize this aspect of our profession challenge and exciting discoveries as we too often leaves singers and audiences feel­ explore new, difficult styles and selections. ing they "ought to have liked this" bur But there are a lot more musical amateurs vaguely resenting what they sense was a than professionals our there, and their waste of their time. If we can rise to this love (amator = lover) for music is no less challenge, to this opportunity, if we ask sincere. In many ways perhaps it is more ourselves these questions each time we heartfelt. This is not a new observation: turn to the task of repertoire selection, we will continuously provide unforgettable ENVER-AREA United Methodist Certain merchants are now arising moments, not only for our singers and Church with 1500 members seeks amongst the populace. They turn our audiences, bur for ourselves. D FULL TIME DIRECTOR OF fine gold into lead and exchange MUSIC AND FINE ARTS MINISTRY. sweet-smelling flowers for foul -C]- Must have large church experience and be odors. These men are called, if I able to direct a wide variety of musical styles for this program consisting of 13 choirs! am not mistaken, professional ensembles. Compensation range: $45,000- singers. When they see some great 55,000. Send resume to Kathy Bartsch, man in public, they look for their lUMINA MUSIC Chair of Search Committee, St. Andrew best song, one that they really like. -Featuring enduring, meaningful texts United Methodist Church, 6325 S. set to provocative, original music. Then they sing it with a great University Blvd., Littleton, CO 80121-2914 Buy olle. Copy forever. by October 15. Start date: January 1, 1999. proliferation of little notes and ~ '" S""&"~ 'j; " r ~ ~" ~ ""'~~::: ~ h "'; boast of their singing. ~w.~·.~.ujrl~nii~usic.:c()·m > (Anonymous, c. 1400)

For that which does not come from the heart does not easily reach the heart. G. J. Quantz, On Playing the Flute} -Six Marian Motets The arts, like sex, are too important I. Motet for the Immaculate Conception of the Blessed Virgin Mary to leave to the professionals. II. Motet for the Nativity of the Mother of God (Attributed to Robert Shaw) III. Motet for the Annunciation N. Mater for Mary, Morher of God V. Mater for the Falling Asleep of the Mother of God Never underestimate the musical VI. 0 frond ens virga power of inspired amateurs! We must se­ lect repertoire that helps our singers to -The Hildegard Motets grow both as musicians and in their mu­ I. 0 verbum Patris sical tastes, bur do we always seriously II. 0 splendidissima gemma ARSISAuDIO III. Hodie aperuit a division of consider their limitations when selecting IV. 0 factura Dei music? Do we make an effort to find V. 0 ignis Spiritus Paraditi VI. Laus T rinitati good literature that can be learned VII. 0 vos angeli quickly? Do we occasionally let our desire Motets (56') VUL 0 speculum columbe CD102 ·$15.95 IX. Nunc gaudeant to impress our peers with the difficulty of our repertoire slip into our selection pro­ Frank Ferko's Motets are available on CD with an exquisite performance cess? from the American Reperwry Singers. Buy the CD and get FREE reference The Latin word canto means song, bur (lJ it also means enchantment or incanta- copies of alill octavos ($22 value!). Give us a call at: (800) 777,1919.

oeTOB ER. 1998 PAGE 37 WHY ACDAs ENDOWMENT WORKS

John and Mary have been giving to ACDA members will come and go, but endowment to benefit a specific area of the American Choral Directors Associa­ endowments last. interest. They appreciate the flexibility and tion endowment for years. In fact, we Each year in the future, family mem­ the opportunity to personalize their "ar­ have grown downright dependent on their bers such as children and grandchildren tesian well." annual generosity. We have become true will be reminded of John and Mary's in­ The American Choral Directors Asso­ partners in this great enterprise. Conse­ volvement with the American Choral Di­ ciation Endowment Trust has developed quently, when they are gone, the absence rectors Association and the value of sound policies for creating and managing of their giving will be felt. making regular gifts to support the choral endowment funds. This information is John and Mary know this and are do­ art. What a wonderful legacy to leave available upon request. Our Endowment ing something to make sure their giving behind! Officer, Joey Windham, is able to show never runs dry. They are taking steps, Endowments are protected. you a variety of ways you can use the through their wills, to create the John and Endowment funds at the American tools of gift planning to make an endow­ Mary ACDA Endowment Fund. A por­ Choral Directors Association are set aside ment dream come true-whether now tion of their estate will be set aside for a and kept separate from operating and through a current gift or later through special fund that will generate annual capital-fund accounts. John and Mary your estate plan. He will be happy to visit gifts to continue the giving they are doing have the assurance that their endowment or correspond with you about this excit­ now. fund will be secure. The written agree­ ing area of philanthropy. Endowments work well for people like ment will be on file, and the terms will be The response form below will let us John and Mary ... and here are three followed carefully. know how to assist you. If you fill it out reasons why: Endowments are personal. and send it in, we will respond immedi­ Endowments are perpetual. While it is possible and sometimes de­ ately. Or if you would rather call, contact Like an artesian well, endowment sirable to create an unnamed, unrestricted Dr. Windham at the Endowment Office, funds keep giving and giving. They allow endowment fund, many people want their 706/556-0079, or e-mail acdatrust@ people like John and Mary to "lock in" fund to bear a person's name. Moreover, aol.com. their giving. Buildings may crumble and they want to tailor the purpose of their

LUMINA MUSIC ACDA Endowment Officer and Planned Giving Featuring enduring, meaningful texts (Please complete and return this reply form.) set to provocative, original music. Buy aile. Copy forever. , - ~ '" ~ Dear Friends at the American Choral Directors Association: www:luminamusic.com ___ Please send me irIformation about making a planned gift to the American Choral Directors Association Endowment. ___ Please contact me to arrange a visit. Secu£ar ae[igfits from ... I have included the American Choral Directors Association ___ Endowment in my estate plans. ~t'anZ! i3iebl Please send me information about the American Choral Direc­ Two Romantic Songs-CQ9806 & CQ9807 "The Elderberry Bush" and "The Coin." ___ tors Association Endowment. Two delightful songs for SATB a cap­ pella. Just the ticket for your spring con­ ~ame ______cert. NEW! JI. spfentfUf song-cycfe from . .. Address ______

Wilbut' Skeels City ______State _____ Zip _____ Songs ojInscape-CQ9701-5 Five poems by Gerard Manley Hopkins set for SATB choir and piano. Duration 17'30". Phone~( __~ ______Explore these language-rich jewels! Mail this form to: American Choral Directors Association Endowmenrs, 2973 Q\luercus ~ress f!anttm Vernell St. S. E., Dearmg, GA 30808. Ifyou are makIDg a gift, please send the gift to 1275 Hendrix Ave., Thousand Oaks, CA 91360 http://cantusquercus.com American Choral Directors Association, P. O. Box 6310, Lawton, OK 73506. Fax 805-494-4250. Catalog & samples on-line.

PAGE 38 CHORAL JOURNAL REPERTOIRE & STANDARDS COMMITTEE REPORTS

& is dictated by (a) the conductor's experience, I find today that his words College University knowledge of the singing voice; (b) ring with more truth than I realized. Choirs preference for blend, rhythm, While the choral tone of our most phrasing, balance, dynamics, or successful choirs certainly differs from Choral Tone: A Decision pronunciation; (c) interpretation T IS the first thing you and style; and (d) the conductor's hear when a choir sings? Tone! ability to communicate. (p.5) WETo a great extent, one's opin­ ion of any ensemble is decided at that Several years ago I came across Timo­ moment. thy Caldwell's book, Expressive Singing For those of us who "grew up" in (Prentice-Hall, 1995), and used it in a Southern California and had the pleasure column to support my point about the

of knowing and learning from Howard lack of musicality in the choirs I had been MUSIC READING c Swan, his words leap off the page in Con­ hearing. On the subject of rone, Caldwell science of a Profession: Howard Swan relates the story of a fellow choir director UNLIMITED Level 2, (Hinshaw Music, 1987). In chapter three who dreams that "he walks into a re­ Dr. Vivian Munn Swan defines the "Three T's" for musical hearsal hall with a high school choir that Level 2 is now available. Music success. Those "T's" were tone, technique, is new to him. He sits down at the piano Reading Unlimited is designed to and begins his usual vocal warm-ups and and tradition (p. 95). In my conducting teach advanced music reading classes I combine technique and tradition is immediately elated to hear his ideal concepts to the high school choir. into a category loosely called "style." choral sound coming from the choir." (p. Therefore, I tell my students there are 159). Score $39.95 Student $9.95 only two things in choral music-tone I venture to say that virtually none of and style. Over simplified, certainly, but us have that problem. The obvious point convenient for categorization. here is "ideal choral sound." What is your Southern Music Company I would like to quote Howard Swan ideal choral sound and how do you P.O. Box 329 again, but this time from Choral Con­ achieve it? Has it changed over the years? San Antonio, Texas 78292 ducting: A Symposium, edited by Harold Is it time to re-examine that philosophy? 210-226-8167 Fax210-223-4537 Decker and Julius Herford (Prentice-Hall, I clearly remember Howard Swan tell­ Toll-Free 800-284-5443 1973). He wrote: ing a graduate class in choral conducting that we needed to decide what it was we e-mail: perhaps there is no subject more did best and stick with it. As a young [email protected] important to satisfactory conductor, I rebelled against the idea that "" ~":)'" ~ , .' performance and at the same time my choices in choral tone would limit me ,"'ISH)} UJS IDNl JFI1E~'~YEB! more difficult to discuss than that in successfully performing repertoire of '". so·utfiei·n'm'us'ic.co'm· of choral tone. (p. 4) Choral tone all periods. With more than a few years of - " ~ '" / Y "lj ~ , ~~;::, "

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OCTOBER 1998 PAGE 43 each other, we can be certain each con­ choral tone as blend, balance, intonation, music based on them are appearing on ductor has consciously made the deci­ diction, and rhythmic vitality (p. 41). The recent ACDA division conferences, in­ sions needed to produce a tone satisfactory emphasis or weight given to various char­ cluding a sturming performance of Caritas to his or her ear. At the same time, it is acteristics will then influence the tone Abundat by the Western Division obvious to listeners that not all stylistic and affect the style of our repertoire. Dif­ Women's Honor Choir under the direction periods of music are conducive to all the ferent style periods require different em­ of Dr. Patricia Hennings. Articles about differing ideas of choral tone we hear. phasis of the characteristics mentioned her are being written in a wide variety of Does this mean we should limit ourselves above. As conductors, both new and ex­ magazines and journals. California musi­ to the Renaissance or the Romantic pe­ perienced, we benefit from ongoing evalu­ cologist, concert pianist, and Hildegard riod but not do both with our choirs? ation of those emphases. We are constantly scholar, Dr. Nancy Fierro, presents well­ Absolutely not! As educators, we must listening to our choir and other choirs to attended lectures, seminars, and weekend bring to our singers all styles of music. evaluate our philosophy. From that self­ retreats around Hildegard's life and teach­ In Choral Conducting, A Symposium, examination, we adapt, change, or grow ings. Entire conferences on Hildegard are Swan identified the characteristics of as needed to bring all music alive to our being offered through the United States singers, our audiences, and ourselves. and abroad during her nonacentennial. , , mhe lfempowatch So, what is your philosophy of choral Contemporary composers, drawn by The Tempowatch tells you tone? Hildegard's music, write compositions of what the tempo Bill McMillan, National Chair their own based on her texts and melo­ is while College & Univmity Choirs dies. you are Why has Hildegard become so popu­ conducting, lar in this century? What does she offer teaching, that is so compelling? Why are such di­ listening or Women's Choirs verse groups interested in her? composing. N THIS her 900th anniversary year, Hildegard was mystic, poet, artist, sci­ Hildegard von Bingen (1098-1179) entist, theologian, politician; musician Toll Free 1-888-803-6287 has sparked a contemporary fascina­ and more. She wrote three major books [email protected] I tion for mUSICIans everywhere. Due in based on her "visions," as well as books part to the resurgence of interest in chant on science and medicine. Perhaps one ex­ ~ind ~t ~ast! with during the last several years and to the planation for the resurgence of interest www.allthingsmusical.com The Complete Music efforts of women's ensembles such as in Hildegard in this country is the hunger Education Resource Web Site Anima, Anonymous 4, Sinfonye, and for inner values and a kind of "spiritual­ All Music Products, Services, Events, Classifieds - on Searchable Databases! Tapestry, the CD bins are full of record­ ity" that we're ofren told is missing from Toll Free 1-888-803-6287 ings of Hildegard's music. Her chants and today's society. June Boyce-Tillman is founder of the Hildegard Network, an organization that brings together people interested in the links between spiritual­ ity, healing, and the arts. She writes about "Build a fabulous Hildegard: I came to the conclusion that she choral library instantly! gave us a chance to do what E. F. Schumacher wrote in his final The Augsburg Choirbook book-'look again at a fragmented world and see it whole.'1 ed. Kenneth Jennings From a long and respected tradition of choral There is no doubt those who hear or publishing, this collection of 67 anthems, represents perform Hildegard's music are moved, not the gems of twentieth century music. These well­ only by her powerful evocations of text, crafted, singable anthems are beautifully engraved but also by the sheer beauty of her chants and encompass a wide range of styles, voicings and texts for the various seasons and festivals of alone. the church year. Performance notes, topical, and Hildegard describes music as the means scriptural indexes make this collection a must. of recapturing the original joy and beauty (Can also serve as a reference volume.) of paradise and says that music was in­ 0·8066-5678-4 • $29.95 ea. vented and musical instruments made in (2-15 copies, $27.95; 16-50 copies, $25.95; 51 or more copies. $24.95) order to worship God appropriately. Her Symphonia armonie celestium revelationum Call1-800-3Z8-4648 to order. .A.tig§bt.irg Fortress PUBLISHERS (Symphony of the Harmony of Celestial

PAGE 44 CHORAL JOURNAL ~...... I \ I

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uN0 one could have had as good a time as we did."- Virginia Davidson, Conductor, NY Treble Singers, 1997

Revelations) contains seventy-seven songs, Contemporary composers, beguiled by unmetered and often move one sub- (she did not call them chants), sixteen of the music and theology of this amazing ject to another, just as they move from which are addressed to the Virgin Mary. woman, are using Hildegard's works as one mode to another, without the ex­ K. Robert Schwarz remarks in his notes the basis for their own, building a bridge pected transitions. Composer Frank Ferko for the CD Monk and the Abbess: between the historical Hildegard and the notes: modern world. Elizabeth Austin of the Not surprisingly, a pioneering University of Connecticut writes regard­ One thing about Hildegard's music woman like Hildegard was drawn ing her Homage to Hildegard, premiered that I find truly fascinating is her to feminist figures. Many of her in Mannheim in June 1997: mixing of modes wirhin a single chants and poems are addressed to composition. This was not done in rhe Virgin Mary.... Nearly as The natural predilection to the twelfth century, but many ponder the martyrdom of Hildegard's musical is first and Hildegard-possibly because of her Saint Ursula, who was murdered in foremost the truly original and lack of solid music education­ Cologne along with the 11,000 unique quality of her writing: her used mixed modes in a way rhat virgins in her community.2 musical lines are unlike anyrhing colors the texts very, very rhat had been written up until rhat effectively. People who have In the March 1998 issue of Gramophone, time, as far as we know. The studied and "lived wirh" each mode arguably the best classical music maga­ pungent "aroma" of her highly and absorbed its characteristics zine available, CD reviewer, Mary Berry personal settings invite a understand that each mode is proposed that Hildegard may have been comparison to the much later unique and almost a living thing the original feminist: Machaut. Her use of musical in itself. The Greeks understood "affections" in setting a text this and wrote about it in their Hildegard was somerhing of a law precedes the Baroque period by musical commentaries. Medieval unto herself; those in aurhority did about 600 years!' people, I am sure, were also aware not always approve of her goings­ of rhe characteristics unique to each on. Let us not forget, rho ugh, that Hildegard wrote in the plainchant tra­ mode. Hildegard went a step in our own day she has been dition of a single vocal melodic line, with further rhan orher composers and adopted as the patroness of texts rich in metaphor and her own "spin" used rhe modes coloristically in a Women's LibP on the theology of the time. Her texts are much more specific way (one mode l OCTOBER. 1998 PAGE 45 for (his phrase of a piece, and in Atlanta, Georgia. The purpose of this UK. anomer mode for me nex( phrase) edition, according to publisher Mary E-mail: [email protected] (han her con(emporaries or her Lycan, is "to put the antiphon into its predecessors.5 liturgical context, with enough support­ The Lord's Prayer ing commentary so that non-medievalists SATB Hildegard's metaphorical prose, unlike can perform it with some confidence."7 the rhymed poems typical of the medi­ Below are some contemporary choral The Call ofthe Ancestors eval period, are rich with vibrant descrip­ compositions based on the writings or SATB Choir tions of color and light, which also occur chants of Hildegard, both for equal and Brass quintet (2 trumpets, 3rd trumpet in her visionary writings. Her music, with unequal voices. Bold entries are suitable using only three notes, horn, bass an average range of nearly two octaves, is for women's voices. trombone, tuba, three Improvlslllg filled with unexpected vocal leaps, runs groups) 20 minutes and turns. The nuns in the convent she Elizabeth Austin founded were obviously skilled singers. Homage to Hildegard Exiles Today's conductors will find the chants of (based on Cm·itas Abundat) Music Theatre Piece (2 hours) bringing Hildegard both challenging and reward­ SB, percussion, manuscript together Julian of Norwich and Hildegard ing, providing an excellent body of work h rtp: I Iwww.amc.net/mem berl of Bingen and including a shortened for developing blend and ensemble of Elizabeth_Austin/home.html E-mail: version in translation of Ordo Virtutum equal voice choruses. [email protected] as the middle act Conductors interested in performing SATB, 12 soloists the chants of Hildegard will find them in June Boyce-Tillman 2 flutes, clarinet, 2 cellos, plano, the catalogue of Hildegard Music Press.6 All are published by the Hildegard Press percussIOn Treble Clef Music Press publishes 0 and the Association for Inclusive frondens virgo, with accompanying Language. o Fiery Spirit plainchant Magnificat, edited by William Dr. June Boyce-Tillman Adaptation of 0 ignis Spiritus. Flynn, a medievalist at Emory University 108 Nimrod Road, London SW16 6T(1 Unison, unaccompanied, ca. 5 minutes.

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PAGE 46 CHORAL JOURNAL Flourishing Branch Steven Paulus All ofCreation is a Song ofPraise to God (metrical version of 0 viridissima vi1-ga) Visions from Hildegard (Parts I, II, and SATB/ organ or piano SATB Hymn III). SSAATTBB. Flute, oboe, timpani, percussion, brass quintet, and organ Robert A. M. Ross Fountain ofWisdom Paulus Publications, 1719 Summit Ave., Antiphon for the Holy Spirit SSAA. St. Paul, MN 55105 (based on De Spi1i.tu Sancto) A Life Apart-Hildegard von Bingen (612) 644-6274; (612) 647-6488 fax Ralamar Sparks Enterprises Music Theatre Piece for soprano and E-mail: [email protected] E-mail: [email protected] piano with audience participation, ca. 40 minutes, recorded on British Music Label Wayland Rogers Anna Rubin BML022 I am that great andfiery force. Manuscript. Hildegard's Pmlogue. Manuscript http://pwl.netcom.com/ ~wrogers3 Commissioned by Jo Scheir for the Singing the Mystery 28 Litw-gical Pieces by Hildegm'd of MllSic is Your SpecialtX. • • In Fact • • •Jit's "All wi Dol' Bingen "Musicis Our Specialtx. • • LET'S WOR~ TOGETHER! '"~" Unison, unaccompanied • ~ ,,' ,,~:- ,,' ~ y - "'

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Frank Ferko Hildegard 'Hiptych SATB/SATB, unaccompanied ECS

Hildegard Motets SATB (No. 8 of 9 IS TTBB), un­ accompanied ECS ~;: .. :~m,,:5 l!:::~it:=d;;m~ Canterbury Cathedral British-American Reformation Church Music Festival Six Marion Motets Featuring Fe.stival Choir Concerts at Britain'S Most Important Locations of the Faith· St. Gile.s Cathedral, Edinburgh; Canterbury Cathedral; Westminster Central Hall with the Virtuosi of London Orche.stra SATB CONDUCTED BY: David Flood, OrganistlHaster of the Choristers, Canterbury Cathedral ECS David Davidson, Director of Music, Highland Park Pres. Church, Dallas, and Director of the Dallas Symphony Chorus Randall Giles o factum dei SSAA, Manuscript E-mail: [email protected]

Anne Kilstorre '97 Canterbury Cathedral Concen '97 Westminster Central Hall Cont:en For You, Manuscript International Children's Choir Festival An Exact Repeat of the Phenomenally Successful 1997 Fe.stival "The Fine.st Event Ever Planned for Children's E-mail: [email protected] Choirs"! Featuring Fe.stival Choir Evensong in Canterbury Cathedral; Fe.stival Choir Evening Concert in Can­ terbury Cathedral, Final Concert in London's We.stminster Central Hall with orche.stra CONDUCTED BY: Henry Leek, Music Director, Indianapolis Children's Choir Barbara Kolb David Flood, OrganistlHaster of the Choristers, Canterbury Cathedral Virgin Mother Creatrix commission for Indiana University , Britis6~Eu"QP'ean Specl"I~ mOltrs " ~ Chorus (PA), Jim Dearing, Conductor, Street Address: 2.60 South "First ~t., Suite #6,' ZionsvillE!,' IN !'I§077, ' SATB, unaccompanied Mailing Address: P.O. Box ~78193, Indianapolis, :IN. 46278-0 t 93, ,~,', " 'TEl..EPHONE: 800-835~Oll-02' , FAX:,317,-87l-9733 \ ': .'". ~ ~" ~ ~ " ";,, t c ~'" _~ _

OCTOBER 1998 PAGE 47 Urban Sky Consort of women's voices Jeanne E. Shaffer Conductors interested in recordings con­ E-mail: [email protected] Cm·itas taining me chants of Hildegard performed SSAAJ keyboard by women's vocal ensembles can select from Naomi Stephan Company Press any of me fine recordings listed below. A Hodie E-mail: [email protected] more extensive discography of music for SSSAA,unaccompanied women's choruses may be fOund via me Treble Clef Music Press Janika Vandervelde web site for me ACDA National Repertoire o Viridissima Vi/go & Standards Committee on Women's Ideo. Manuscript SATB/ST/dumbek or tabla drums Choirs: http://www.cco.caltech.edu/ E-mail: [email protected] Earthsongs ~mhubbard/acda_rs/index.shtml.

Circle ofWisdom http://www.demiq.com Music celebrating me 900m anniversary .TN ._ -Q<' of Hildegard von Bingen .- .....',. ,~.' em1-~-' ~-~ ~ - .2) Call Toll-Free (888)204-4440 ".-- .-- ., .... '"' . Anima CDANM002 Choral & lnstrumental Sheet Music on the lntemet

Secular Chrishnas Choir & Orchestra Sacred Music ofthe Middle Ages Christmas Boogie SATE - BarbeylMarsh What a Joy! (Selections from "Die Hildegard von Bingen and others Christmas 5/4 Time SA(T)B - BarbeylKraintz Fledermaus") - Strauss The Sound of Christmas SATE - BarbeylKraintz Va, Pensiero (Chorus of the Hebrew Anima Sing Noel SATE - BarbeylKraintz Slaves, from "Nabucco") - Verdi Straight Arrow Recordings CD SAPOO 1 Sacred Sacred Christmas St. Johnsbury, Vermont, USA. June 1994. Healing Prayer SATE - Kysar From Christ Mass SATE a cappella - Isaacs Glory to God SATE - Marsh - Benedictus (0 Come, Emmanuel) Spirit of the Lord - Bayne - Agnus Dei (Silent Night) with Audience 11,000 Virgins Anonymous 4 Anywhere in the world! - Order Today, Rehearse Tomorrow! Music of Hildegard von Bingen inspired by me legend of St. Ursula Harmonica Mundi CD HMU 907200; CHRISTMAS CASS 407200 1997 THE CAROl OF THE DANCE, Noel Goemanne SA, keyboard, opt. timpani and flute Elektra WOmens Choir Contains compositions by Hildegard, DEO GRACIAS, Jim Leininger Verdi, Durufle, Luengen, Schafer, SSA, optional hand drum Fletcher, G. Holst, Tavener, Kostiainen, LULLY, LULLAY, Michael Mendoza Tormis. SSA a cappella Elektra Women's Choir, Morna I WONDER As I WANDER, arr. Michael Weber Edmundson & Diane Loomer, Co­ SAB, keyboard Directors Skylark CD 9202 LO, HOW A ROSE E'ER BLOOMING, Carlton Young SAB, handbells Vancouver, Be, Canada. 1995_

ADAM LAY YBOUNDEN, Hubert Bird Feminea Forma Maria SATB a cappella Hildegard of Bingen, Johannes Berchman CHRISTMAS, Carlton Young Goschi SATB, piano or organ 12 Marian songs from me Dendermonde Codex, sung by me II-woman Ensemble MARIA WALKS AMID THE THORN, arr. William Hunt SATB a cappella Mediatrix. Song texts in Latin and German only; liner notes in English and SEE THE LITTLE BABE, Dan Schwartz German. Mediatrix CALIG 50 982. 1996. SATB a cappella

WELCOME, ALL WONDERS, Michael Larkin Alleluia Psallat, The Joys 'of Christmas SATB a cappella Medieval to modern Christmas music, including Hildegard von Bingem, Britten, Chambers, Handel, Bach, and Mechem, ALLIANCE MUSIC PUBLICATIONS, INC. (713)868-9980 FAX (713)802-2988 Peninsula Women's Chorus, Patricia p.o. Box 131977 • Houston. Texas 77219-1977 Hennings, Conductor

PAGE 48 CHORAL JOURNAL \!

Location bigital Recording LDC-1001 Telarc CD 80448 For further reading in addition to Direct CD order ($18.00): 2360 Emerson Lenox, MA 1995 encyclopedic references: St. Palo Alto, CA 94301 Song ofSongs Fierro, Nancy Hildegard ofBingen: Symphonia (part 1) Tapestry, Laurie Monahan, Director Hildegard ofBingen and Her Visions ofthe Symphony of the Harmony of Celestial Hebrew Cantillations, Latin Chant, Revelatiom Hildegard, Contemporary compositions Sinfonye, Stevie Wishart, Director, (with Telarc - To be released Fall 1998. E NEW! 1999 the Oxford Girls' Choir) PACKm Lent & Easter CD Celestial Harmonies 13127-2 concert Diadema ~ Choral Music review, Toddington, England, 1995 Music by Hildegard von Bingen ThE!oiior~- pr~sser· co.' ;p~~t. 10Q Vox 1 Presser PI. Bryn Mawr PA !.19010-3490 Hildegard von Bingen: Celestial Light Real Music CD RM8999 or: . E-rraaWp,:~~~i!!@p,:~sse,:.com Music of Hildegard von Bingen, Robert Munich, Germany, 1990. Kyr Tapestry, Laurie Monahan, Director Hildegard of Bingen, Ordo Virtutum, The Telarc CD 80456 Soul's Journey MIDI Keyboard Kits $299 Lenox, MA 1997 Vox Animae, Michael Fields, and Evelyn General MIDI Keybd.-Full 61 keys c Tubb, directors SeqlJencingfTranscription Software Band in a Box, MIDI Connector Angeli: Music ofAngels All women voices with John Hancorn's Tapestry, Laurie Monahan, Director Diabolus; Michael Fields, harp; Finale $219 • Encore $219 Ensemble Project Ars Nova with guest Piers Adams, recorder; Steven Devine, Site Licenses • MusicMastery ensemble Tapestry percussion. Notre Dame Polyphony, Hildegard von Etcetera Record Company, Netherlands v..,e'l'oOS AABACA c.O Bingen, Patricia Van Ness KTC CD 1203.1996. \.O'oS 612-933-7307 ttO\'1\S http://aabaca.com

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Dr. Charles K. Smith, Director of Choral Activities Dr. Jonathan Reed, Associate Director of Choral Activities

• Master's and doctoral degrees • Chamber choral ensembles available to graduate conducting students • Teachin-g Assistantships • Application deadline for 1999-2000 academic year­ December 1, 1998

For further information contact: Director of Choral Activities, Michigan State University, East Lansing, MI 48824-1043 517/355-2140, http://www.music.msu.edu

OCTOBER 1998 PAGE 49 Feminine Alliance of Women in Music: http:// Kansas: Sheed and Ward. 1994. 150.252.8.92/www/iawm/historicall FREE hildegard.html catalog and Flanagan, Sabina Monica J Hubbard, National Chair fabric samples. Hildegard ofBingen: A Visionary Life. Committee on W'Omens Choirs Since 1955 ... New York: Routledge. 1989. LYRIC NOTES CHOIR GOWN co. Neuls-Bates, Carol, ed. I June Boyce-Tillman. Singing the Mystery­ W'Omen in Music: An Anthology ofSource Hildegard Revisited, liner notes. British P.O. Box 16954-AZ Jacksonville, FL 32245 Readings fiYJ1n the Middle Ages to the Present Music Label CD 022. May 1997. CALL TOLL FREE Boston: Northeastern University Press. 2 Monk and the Abbess. Mwic ofHildegard of 1-800-847-7977 Revised Edition, 1996. Bingen and Meredith Monk. Musica Sacra. Richard Westenburg. Conductor. Liner Newman, Barbara notes. K. Robert Schwarz. Catalyst CD Sisters ofWisdom: St. Hildegard's Vision of 09026-68329-2. BMG Music. 1996. the Feminine. 3 Mary Berry. "Hildegard of Bingen," Our Voices Berkeley: University of California Press. Gramophone, (March 1998): 93 1987. 4 Elizabeth Austin, e-mail to author, February 13, 1998. areJfeard Ohanneson, Joan 5 Frank Ferko, e-mail to author, January 8, Scarlet Music: Hildegard ofBingen, a Novel 1998. -,-DEGREES- New York: Crossroads Publishing. 1997. 6 Hildegard Music Publishing, Box 332, Bryn B.M., B.A.. M.M.• and D.M.A. degrees offered in a wide variery of undergraduate and graduate majors Mawr, PA 19010; phone/fax: 610/649- including M.M. & D.M.A. in Choral Conducting Plantamura, Carol 8649; e-mail: [email protected]; W'Oman Composers Internet: http://www.hildegard.com -ENSEMBLES­ Nine nationally recognized choral ensembles Santa Barbara. Bellephron Books. 1988 7 Treble Clef Music Press, 415 Wesley Drive, (This coloring book contains a wonderful Chapel Hill, NC 27516-1521; phone: --,-VISIBILITY­ array of women composer biography 919/932-5455; fax: 919/932-5418; e­ ACDA and MENC performances CDs. recordings and broadcasts sketches and is a great gift for young and mail: [email protected] Recent performance oppomll/iti" with Luciano Pavarotti, old alike, MJH) Jore Ozrreras, Michael TtUOll Thomas and mUIical organizations throughout tbe GreatO' Miami community -C]- For additional resources on Hildegard -FACULTY­ visit the web site of the International ChoraiFaculry Jo-Michael Scheibe; Program Chair, Donald Oglesby. Larry Lapin. Robert Gower

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The University ofMiami School ofMlISic has been an accredited inttitlltional member ofthe National Assodation ofSchoou ofMIlSic since 1939.

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Rehearsing the Volunteer Church Choir: Principles and Techniques by Lee Hinson

Editor's Note: Every week a large to sing in public every week. The director In addi tion, people, particularly young volume of music is rehearsed and does not have a semester to work out all adults, are more conscious these days of performed by church and synagogue the kinks in a piece, establishing good value. If you ask them to come to a meet­ choirs all over the country. Of ACDA's balance and blend before trotting a work ing or rehearsal, you'd better make it worth 18,800 members in 1997, more than out in concert. their while. & one director quipped, 5,800 indicated they directed a choir of The lives of the choir members also "They don't have to come."l this type. This is the single largest area affect rehearsals. Volunteer choir mem­ Good choral technique is desperately of professional activity within the bers tend to be busy folks, taking on sev­ needed by these volunteer choirs. Direc­ organization. This article by Lee eral other responsibilities at church (some tors must hold that ideal of choral sound Hinson, Small Church Consultant for of which may cause irregular choir atten­ out before them, striving for what may the Baptist Sunday School Board, dance). Since there is usually only one never be achieved. James Woodward said, addresses the unique challenges of the opportunity for rehearsal each week, dis­ "We must change the things we can, tol­ volunteer church choir. ruptions and personal problems can have erate the things we can't change, and have a pivotal effect on the sequence of the sense to know the difference."2 rehearsals. Rehearsal attendance may The Challenge of not reflect performance attendance. Volunteer Choirs Volunteer religious choirs present unique challenges to conductors. In fact, it may take greater professional skill and creativity to accomplish musical goals with limited resources and time. Although some religious choirs are supplemented with paid singers, a signifi­ cant number do not use paid vocalists. These choirs function on the principle of volunteer service that grows out of a deep personal religious conviction and a desire to serve. In some cases only a few of the volunteer singers read music well. The interpersonal and musical dynamics of the volunteer group can be very different from one with paid singers. Many student conductors or school choir directors have found themselves in front of such a choir each week. Direct­ ing a choir at a church or synagogue can be a great way to gain conducting experi­ ence and earn extra income. However, most choral pedagogy and rehearsal tech­ niques taught in college are based on the assumption that the director will have several days each week over several months' time to accomplish their musical goals. But these volunteer choirs, no mat­ ter what size, are hemmed in by time constraints and pursued by the pressure

OCTOBER 1998 PAGE 53 Basic Principles of what they learn. Repeated practice over not spend too much time on one piece in Directors of volunteer religious choirs a five-to-eight-week period is usually rehearsal, but should budget the time so a should plan and execute rehearsals with needed to get non-reading choir mem­ variery of music can be sung. The more two underlying principles. bers and uncertain singers ready to per­ music sung in rehearsal and the faster the 1) The Need for Repetition Over form a piece. Given enough repetition, pace, the more interest will be generated Time. Choir members who take a stab at they will sing with more confidence and among the singers. a piece only once a week will forget some responsiveness. The choir director should 2) Awareness of How the Singers "Get" Their Parts. Although these vol­ unteer choirs may have few music read­ Custom Designed ers, they may have several good ears! There is often a keen sense of relative pitch and Performance Tours a vague understanding of notation via hymnic part-writing. For example, a bass Europe • Australia • Great Britain or alto who grew up singing gospel hymns USA· Canada will quickly learn a new anthem if their Adult and Student Choirs • Bands part is consistent with the part-writing Orchestras • Dance Groups found in many hymns ftom the turn of the century. Simple SAB arrangements Call or write: can be difficult for the basses because the baritone line does not generally contain ISM root movements. Pieces that take the P.O. Box 969, Manhatttan, KS 66505-0969 melody away from the sopranos (espe­ Phone 785-537-2451 cially if it is a well-known hymn tune) Fax 785-537-7104 can create consternation for ladies accus­ Toll Free 800-678-4532 tomed to singing that melody. Sometimes the means to the end is proper seating.

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t's a place to learn. to change. to grow, and Performance Opportunities to experience college life at its fullest. Students have the opportuni­ Recently ranked 19th of the top 25 univer­ I ty for frequent. varied per­ sities in the nation. Vanderbilt University and forming experience. both the Blair School of Music combine intensive within the University and the professional training ,vith a superb liberal arts broader community through education in a city of historic Southern charm. Blair's active referral service. intellectual pursuit and cultural diversity. Known in music circles as Gifted and Dedicated Faculty "The Third Coast." Nashville The Blair Faculty is internationally recognized houses numerous publishers. for composition. research, and performance. production companies and Resident ensembles concertize throughout the recording studios. United States and many faculty hold principal Local Audition Dates: positions in the Nashville Symphony. The school's extremely favorable student I teacher December 5 ratio encourages relationships of unique per­ January 29-30; sonal interest and interaction which are the February 12-13 hallmark of the Blair community. The faculty February 26-27. includes such groups and artists as the Blair theory. the Blair School of Music and For more information: String Quartet. fiddler Mark O'Connor. Peabody College proudly announce a collabo­ Dr. Dwaylle Sagell rative five-year Bachelor of Music / Nlaster of bassist Edgar Meyer. guitarist John Johns. A'JiAallt Deall for A{)mi.",ioll., Education degree program. This unprece­ baritone Jonathan Retzlaff, pianist Craig Nies, Blair School of il1//,Jic dented. limited enrollment teacher education the Blair Wood,vind Quintet. and the Blair Vallderbilt Ulli"er.ll·ty Brass Quintet. program emphasizes a foundation of rigorous performance preparation. musicianship. and NaJh,.ilk, TN 57212-5499 Degree Programs field experience culminating in a fifth year (615) 522-7679 In addition to the Bachelor of Music degree in teacher licensure curriculum and student II7EB: ",,,,,,,.,,all{)erbilt.e{)/IIBlair performance, musical arts or composition I teaching assignment. E-iIWL: D",aYlle.ESagen@"all{)erbilt.~{)/1

PAGE 54 CHORAL JOURNAL Uncertaln singers may need to be placed music. Don't feel compelled to sing all that the social aspects of the Qrganization as far away from another part as possible, the way through every piece at every re­ are very important to the continued or at least seated next to section leaders. hearsal. Turn a difficult phrase into a growth of the choir. Sprinkle the rehearsal Knowing how the choir members "tick" melody, then have all the sections sing it with humor. Volunteer choirs that have a musically will aid the conductor in choos­ in unison. Repeat passages several times good time at rehearsal have more consis­ ing repertoire and devising a rehearsal in succession. Use clapping, body move­ tent attendance patterns. Take time to do strategy. ment, or neutral syllables on tricky things as a group away from the rehearsal rhythms. Work a difficult passage at dif­ setting. Visit in the homes of the choir Techniques ferent dynamic levels and tempos. In gen­ members. End rehearsals with a sense of Keep as Many People Singing as Pos­ eral, difficult pieces should be placed satisfaction. Get caught up in the joy of sible. The longer a section sits idle, the about one-third of the way through the making music. more likely it is to start talking (and, rehearsal when the choir still has the en­ thereby, stop listening). After working one ergy for some hard work. NOTES part alone, keep them singing while bring­ Know When to Quit. There will be 1 Terry York, "They Don't Have to Come: ing in another section. Look for "duets" times when the rehearsal plan does not Thoughts About Rehearsal Planning," between the sections, such as parallel work out. Perhaps the day was too long, The Church Mllsician (September/ sixths or echo parts. Rehearse similar or and everybody is tired, or the section lead­ October/November 1988): 4. repeated musical sections in groups. Even ers did not show up. Whatever the rea­ 2 James D. Woodward, What To Do in Case if the only difference is the key signature, son, don't continue beating a piece until of a Choir Rehearsal (Nashville: the music may look different to the sing­ it is dead. When the momentum lags in a Convention Press, 1972), 18. ers. Don't work on parts in the same or­ rehearsal, move on to something else. der all the time. Let the music determine Make a fresh start on that music the next -C]- the order. week. If an anthem is consistently diffi­ Don't Depend Totally upon the Key­ cult to rehearse, consider that it may be board for Support. Choir members can inappropriate for the ensemble. Don't be rely too heavily on the accompanying in­ afraid to remove it from the schedule. strument. Drop away the accompaniment Be Organized, but Have Fun. Have after chasing notes awhile. Occasionally, the music ready to go. Provide a list of the E NEW! 1999 struggle through a passage without ac­ rehearsal pieces. Print a choir newsletter PACKET! Lent & Easter companiment, no matter how bad it or bulletin that is handed out at rehearsal ~ Choral Music sounds. Program more unaccompanied and then mailed to absentees. Contact Theodore Presser Co. : Dept. 10e pieces into the repertoire. absent choir members quickly. Keep so­ 1 Presser PI. BIY" Mawr PA . 19010-3490 or: E-mail [email protected] Use Recordings Judiciously. Con­ cializing to a minimum, but remember stantly working with a recording would be counter-productive. However, record­ ings can really jump-start work on a hard piece or bring the singers back to reality after several weeks of picking parts. ConceptTours Insist that the Singers Follow the Con­ A bridge to the World ductor. If the choir does not respond to Not Just Another Performance in a Foreign Place the conductor, consider the cause. The pattern may not be clear or may be full of A cultural focus, in the broadest and best sense of the word. meaningless motions. Amateur musicians A customized itinerary; planned around your group's unique agenda. simply may not know how to interpret Experienced professionals at every stage, from tour design to execution. the signals of conducting. Singers might An educational perspective, with visits to historic sites & cultural landmarks. have their heads buried in the music. Specialized guides, accommodations & travel amenities to meet your budget. When a clear pattern is established and the signals are understood, demand to be Music Collaborations &. Performance Thurs followed. Group Tours to New York City Work Difficult Passages Early. Since most arrangements tend to be progres­ Cathedral Tours of Great Britain sive, the last thing the audience hears is Eastern &. Western Europe often the most difficult. Spend signifi­ UK, South America &. Asia cant time on the hard spots and the "seams" of the music where the musical Contact: Dennis Hunt, Concept Tours, Inc. 170 W 74th St., NYC 10023 sections connect. Often this means start­ Tel: 212-580-0760 Fax: 212-874-8605 [email protected] ing in the middle or at the end of the

OCTOBER 1998 PAGE 55 11t~ e. PeVzee SdMd ~ 11teuk eued 'P~;-im ... nowaccepting registration for admission and scholarship auditions Audition Dates November 20 & 21 , 1 998 February 26 & 27, 1 999 March 27, 1 999 Stephe,J) Coker, DMA • Director of Choral Activities Chamber Choir • Women's Choral Union • University Singers Fou{Fully Staged Opera/Music Theater Productions and .. Two Staged Readings Annually

Composers' Writings, For additional information regardIng degree Interviews & Reviews

programs and School of Music auditionsJ CompUed&Anilotatedl1f please cal/l-000-633-7242 ext. 5900 DAVID P.DEVfNNEY or email to: [email protected]

Lifelong Friend WHERE WORDS FAIL, MUSIC SPEAKS Each day, we celebrate strong relationships in our lives, whether dromatic or understnted, whether spoken or unspoken, whether romantic or filial. The men of Turtle Creek Chorale have put these celebrations into song. .:. Seven of the pieces I belong to composer David Friedman, best known for his arrangements for Disney films and his colloborotian with the late Nancy laMott. The other pieces ore all by friends of the TCC: Marvin Gospord, Jane Marshall, Robert Seeley, and Joseph Jennings. TCC hos also made a music video of "listen to My Heart." The music tells our story. Perhaps it tells your story.

FOR MORE INFORMATION P.O. Box 190137 II 001105, 1X 75219-0137

214-526-3214 PHONE II 214-528-0673 FAX II 1-800-746-4412 TOll-FREE [email protected] II http://www.turtlecreek.org

PAGE 56 CHORAL JOURNAL COMPACT DISC REVIEWS Richard J, Bloesch, editor

Editor's Note: This month Weyburn absolutely solid on the Shakespearean texr Wasson reviews a selection of compact set by Lindberg. Their intonation is al­ RECORDING discs featuring Scandinavian composers ways without flaw. COMPANIES THIS ISSUE and choirs. The pieces are performed in their origi­ Grammophon AB BIS nal language, but some of the works are (address not available) Arstider • Seasons available in English translation. Publish­ choml music a cappella ers of all pieces are listed in the CD book­ Naxos Prins GllStaf: Glad slisom figeln; Frederik let. This CD is highly recommended. Naxos of America, Inc., agent Kuhlau: Majsang; Otto Lindblad: 8440 Remington Road Dingtan till landet; Eric Jacob Arrhen Pennsauken, NJ 08110 von Kapfelman: Va rsang; David Lars-Erik Larsson Wikander: Dofta, dofta vit syren, FOl-kiadd Gud (God in Disguise) Forvarskvall' WIlhelm Peterson-Berger: Hilding Rosenberg QuattroAS Varm kom m Vlborgsnatt; Jacob Axel Den Heliga Natten (The Holy Night) (address not available) Josephson: Varliga vindm-; Sven-Erik Amadei Kammark6r; John Erik Eleby, Bade Varen; Hildor Lundvilc Detjdrsta conductor . van'egnet, Verlaine-Stamning, Som ett Svenska Kammarorkestern; Petter Uppsala Domkyrkokor blommande mandeltrad; Hans-Ola Sundkvist, conductor Odinslund 3 Ericsson: Under lindm; Veljo Tormis: Recorded 1996 SE-753 10 Uppsala Kihnu Pulmalaulud, Sugismaastikud,' Naxos 8.5537.38 [DDD] 61 '01" Sweden Karin Rehnqvist: Bam du gar ovel' mm'kerna; Nils Lindberg: Shall I com­ HE TWO WORKS on this CD pal'e thee to a summer's day; are by two of the more famous year disguised as a peasant to show how Sommmpsalm; Hakan Parlanan: Titania; T Swedish composers of the older poetry must serve in the fight against evil. Knut Hakanson: Stjarngossm~' Sven-Eric generation of twentieth-century masters: Written after Europe had been plunged Johanson: Vintervisa, Snabbt jagar Lars-Erik Larsson (1908-86) and Hilding into world war, the cantata seeks to soothe st01'men vara ar; Traditional: Till Rosenberg (1892-1985). the beast of evil with pure beauty. The Osterland. Larsson, who is most often determined narrator recites the poetry of Gullberg, Allmanna Sangen; Cecilia Rydinger Alin, to be a neo-classist, shows a more Ro­ which is then sung by soloists and choir. conductor mantic side in this cantata-like work writ­ It is, especially for Larsson, a lush work Recorded 1998 ten in 1940 on a contemporary text by with a great deal of melodic inventive­ Grammofon AB BIS, Djursholm, CD the Swedish poet Hjalmar Gullberg. ness. The performance is at once sensitive 934 [DDD] 70'21" Scored for orchestra, choir, baritone and and powerfully voluptuous. soprano soloists, and narrator, the work The Christmas oratorio Den Heliga HIS CD can be considered an relates the old Greek myth of how Appollo Natten is arguably Rosenberg's most ac­ anthology of Scandinavian music was sentenced to wander the earth for a cessible work. It is still (after sixty-two T with a bias toward twentieth-cen­ tury Swedish music. The choir is the stu­ dent choir ofUppsala University; Sweden's The peifect solution for a peifect performance! oldest University. It is by all standards an excellent choir. SONG-LEARNING TAPESTM Much of the early music on the re­ © 1988 by Hammond Music Service cording is of the folk variety. The choir Rehearsal tapes help choirs learn music 5 times faster! performs this music with great elan and Perfect for learning oratorios, requiems, cantatas-any major work! gusto. Yet, they are equally comfortable AND-inexpensive rehearsal tapes for All-State & Regional Honor Choirs! and at home with the more difficult works Each tape has a grand piano playing a specific voice part in the foreground, byTormis and Lindberg and display great all other parts, accompaniment and metronome in the background. Directors: call, e-mail or write for a FREE catalog, demo packet/tape, and prices maturity in their conceptions of these works. They sing with great pleasure and HAMMOND MUSIC SERVICE Toll Free: 800/628-0855 with complete attention to the tonal color P.o. Box 585 Idyllwild CA 92549 • FAX: 909/659-0798 • E-mail: [email protected] of the text. Their diction in all pieces is Visa and MasterCard Accepted impeccable and, indeed, they sound

OCTOBER 1998 PAGE 57 years since its composition) very popular Nativity story juxtaposing Gospel ac­ heralded by brass fanfares with strings and is played over Swedish Radio every counts from Luke, Matthew, and John and winds accompanying the narration. Christmas Eve. Scored for orchestra, choir, with the poetry of Gullberg. The Gospel This, too, is a very pleasant work, and it soprano, mezzo-soprano, baritone and stories are recited by the narrator in the is easy to see why it remains popular as a bass soloists, and narrator, it recounts the style of the melodrama. (One should re­ yearly tradition. It, like the Larsson, is member here that the melodrama was a extremely melodic and Christmassy very popular form of nineteenth-century sounding without quoting any familiar LUMINA MUSIC music wrinen for narrator and orchestra Christmas tunes. The choir is used less in Featuring enduring, meaningful texts or piano on dramatic texts; both this work; the men sing a shepherd's cho­ set to provocative, original music. Buy Olle. Copy forever. Mendelssohn and Liszt, to name but two rus, and the full choir accompanies the wrote melodramas). In all but one end of the first solo and sings the finale ~ww.i-~minamusic.ccim' "" ~ ~ ~ " instance, the words of the narrator are "Song of the Star." There are solos for each of the four soloists and an orchestral "March of the Three Kings." The performances of both of these THE INSTITUTE OF SACRED MUSIC works are lovingly done by ensembles who AT YALE UNIVERSITY know them well and perform them equally well. The choir is beautifully shim­ mering, and the orchestra sure-footed and sensitive. This CD gives a glimpse at works A Cross-Disciplinary that deserve to be equally lauded outside of Sweden as they are in Sweden. Centerfor The only drawback is that the CD has Music, Liturgy been issued only in Sweden and therefore and the has only Swedish in the CD booklet. An Related Arts international release is being considered, with an expanded booklet in other lan­ guages, but a date has not as yet been set. "Common ground Those wishing to obtain this CD may for musicians and ministers, contact: Naxos Sweden, Kryptongatan 6, for scholars and practitioners" S-703 74 Orebro, Sweden. E-mail ad­ dress: [email protected]

PROGRAM IN CHORAL CONDUCTING Grex Vocalis CRUX'20th Century N01wegian Choral Faculty Music Marguerite Brooks ~ David Connell Edvard Grieg: Fire Salmer, op. 74; Knut Nystedt: 0 Crux; Arne Nordheim: Tres Degrees Offered through the Yale School of Music Lamentationes; Trond H.E Kverno: Cor­ Master of Music ~ Artist Diploma pus Christi Carol. Ave Maris Stella, Missa in Sana Tubae, Stabat Mater Dolorosa Master of Musical Arts ~ Doctor of Musical Arts Grex Vocalis (Oslo, Norway); Carl Hogset, conductor Double Majors may be obtained through the School of Music. Recorded 1997 Joint Degrees are offered concurrendy with Yale Divinity School. Quanro AS QCD 9308 [DOD] 69'32" Scholarship awards are based on need and merit. Prizes in Organ Performance and Choral Conducting FINE CHOIR performs some are available for qualified applicants. masterworks of the Norwegian A twentieth-century choral art. Address inquiries to: Office of Admissions, Yale Institute of Sacred Music While the works by Grieg and Nystedt are familiar, the works of Kverno (except 409 Prospect Street, New Haven, CT 065II for his Ave Maris Stella) and Nordheim PHONE 203-432-5180 FAX 203-432-5296 are less well known. E-MAIL [email protected] The performances on this CD are sure WEBSITE http://www. yale.edu/ism and solid. One might wish for-more con­ trast in the tone quality. The choir seems to

PAGE 58 CHORAL JOURNAL sing with'only a rather plain forward char­ Uppsala, also the home of Sweden's oldest Sandstrom's 0 Guds Lamm is the fi­ acter that doesn't always express the and most prestigious university. The CD nale from the Mass Ordinary, which he darker, more melancholy aspects of the includes performances of standards of composed for the Uppsala Cathedral texts. Part of the problem may be what is Scandinavian repertoire; the works by Choir in 1992. The mass setting itself is perceived to be a rather close placement of Kverno and Nystedt, as well as perfor­ scored for choir, brass quintet, congrega­ the microphones to the choir, which mances of new works by Lindberg and tion, and two organs. The finale ( 0 Lamb doesn't allow for any inflection of the tone. Sandstrom. a/God) is unaccompanied. It is a moving, The performance of the Grieg Psalms compares favorably with the earlier Nor­ wegian recording by the Oslo Cathedral Choir under the direction ofTerje Kvam. Sacred SilTB However, one does wish the soloist on this recording (NjaI Sparbo) was as good Nobody Knows - MF 2135 as the baritone on the earlier recording arr. David T. Childs for SATB div, reh kybd (Hlkan Hagegard). Creating God - MF 2136 Nordheim's Hes Lamentationes were by Robert Benson for SATB, org commissioned by Grex Vocalis in 1985. They are neo-expressionistic in style and The Lord Is The Everlasting God - MF 2137 depend upon pungent harmonies to ex­ by Kenneth Jenning for SATB, reh kybd press the dolorous texts. FREE references copies available upon request. The conductor's affinity for the music of Kverno is evident in his performances po Box 4012, Champaign, IL 61824-4012 of these works. Two of the works, Ave Phone (BOO) 359-1386 or Fax (217) 398-2791 [email protected] Maris Stella and Missa in Sana Titbae, were muSIC comPRnr http:/twww.markfostermusic.com commissioned by Grex Vocalis and re­ ceived their premieres with this group. Stabat Mater Dolomsa was commissioned for Europa Cantat 1991 at the urging of Maestro Hogset. The performances of these works are beautifully crafted. The choir sings with immaculate intonation, balance, and attention to nuance. Again, however, one might wish for more tone color contrast.

Uppsala Domky1'kokor (Uppsala Cathedral Choir) Knut Nystedt: Sing and Rejoice, Mise7'ere, op. 140; Nils Lindberg: Har du din lampa redo, 0 Gud som allt med vishet Sty1; Hoga Visan; Trond Kverno: Ave Lincoln Center 0 NYU • Churches of New York mm'is stella; S. D. Sandstrom: 0 Guds 1999 Faculty Lamm; Gregorian chant: Gaudeat eximiis Weston Noble· Moses Hogan· Gregg Smith Upsalia, Antifon and Psalm 117 (l2th century) Uppsala (Sweden) Cathedral Choir; Milke ****BY AUDITION ONLY. LIMITED TO TWELVE CHORAL GROUPS**** Falck, conductor Recorded 1998 "An intensive program of performance, workshops, Uppsala Domkyrkokor, CD 9801 [DDD] sightseeing, Broadway shows and educational exchange" 60'23" • GREAT PERFORMANCES· MUSICAL EXCELLENCE· AFFORDABLE VALUE· HIS IS a remarkable recording by a choir that is not well known in 1-800-922-3976 T the United States. The thirty­ WORLD PROJECTS, INTERNATIONAL MUSIC PRODUCTIONS four-voice choir is the main liturgical Contact: Lawrence Hansen group for Sweden's oldest Cathedral in

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PAGE 60 CHORAL JOURNAL BOOK REVIEWS Stephen Town, editor

Sharon A. Hansen instrumentalists. His discussion about Helmuth Rilling: Conduct01'-Teacher "what to say" during rehearsals is particu­ BOOK PUBLISHERS Dayton, Ohio: Roger Dean Publishing larly insightful: THIS ISSUE Company; 1997.243 pp. $30. ISBN: 0- Cambridge University Press (Softcover) It is in the way you talk to people­ 89328-150-6 Press Syndicate of the it is all in the way you treat them. University of Cambridge N JUNE 1970, I had the opportu­ Encourage them-never let them 40 Wesr Twentieth Srreer nity to study, perform, and even forget that it is a joy to make music! New York, NY 1O01l I briefly socialize with Helmuth Rilling Never forget why you yourself at Temple University's Ambler Festival. became a musician-because you Roger Dean Publishing Company His rehearsals were imbued with a sense love music. How many times do we Lorenz Corporation, agent of mutual respect and cooperation, yet he professionals forger thar? (p. 75) P.O. Box 802 achieved quick results through efficient Dayton, OH 45401 problem solving and precise technique. Hansen's book also contains appendi­ During the period 1992-94, Sharon ces listing publications by Rilling and the Clarendon Press Bach Summer Academy. It is the last ap­ Hansen spent considerable time partici­ Oxford University Press, Inc., agent pating in classes, rehearsals, concerts, and pendix, Rilling Discography, which helps 198 Madison Avenue tours led by the conductor. Based on her to put the conductor-teacher's importance New York, NY 10016 observations and frequent conversations in perspective. Listed are several hundred with Rilling, she has produced a well­ works, including the complete Bach can­ organized and clearly-written book pro­ tatas, albums featuring Rilling as organ­ Saint Joseph's University viding important facts about his ist, and recordings of such diverse Philadelphia, Pennsylvania education, the positions he held, and his composers as Handel, Haydn, Brahms, endeavors in establishing the Bach Festi­ Faure, Distler, and Penderecki. Sharon John Morehen, editor val in Oregon, as well as the development Hansen has written an important book English Choral Practice, 1400-1650 of Stuttgart ensembles (notably; the Bach­ about an influential musician and his wis­ Cambridge: Cambridge University Press, Collegium) and organizations. Perhaps of dom. 1995. 246 pp. $59.95. ISBN: 0-521- even greater significance is her extensive Lewis W Gordon 44143-9 (Hardcover). compendium of Rilling's thoughts on con­ ducting, rehearsal technique, score prepa­ ration, and interpretation. Although this last topic revolves around Bach's music (and reveals the conductor as an earnest Simply . .. the best! scholar), his more general conducting and rehearsal ideas are applicable to other com­ posers and styles. For those fascinated with conducting methodology, a comparison with Kurt MASTER MUSIC MANAGER Thomas's Lehrbuch der Chodeitzmg (pub­ lished as The Choral Conductor by Associ­ ated Music Publishers in 1971 and offered Easy-to-use computer resources for school and church musicians as a special issue of the American Choral Madntosh® and Microsoft® Windows™ versions include: Review that same year) seems appropri­ ate. Both conductors began their careers MUSic Library Recordings Library Membership Files as German church musicians and Bach Personal Directory Inventory Manager DataDesigner specialists. The Lehrbuch is a manual of great detail emphasizing conducting pat­ Easily customize any module, or design your own! terns and oriented toward unaccompa­ Call MANAGER SOFTWARE for a FREE demo disk. nied music; Rilling's more general yet clearly articulated concepts and ideas ex­ (800) 282-9220 • Monday-Friday • 9-5 Eastern Time tend beyond basic pedagogy and include Also available for church musicians ... HymnlndexlM Worship Planner important advice for working with

OCTOBER 1998 PAGE 61 HIS SCHOLARLY volume, con­ In chapter one, Roger Bowers addresses follow her writing with interest. She ex­ sequent to a lecture series orga­ "To chorus from quartet: the performing plains the difficulties of establishing his­ T nized by the late Peter LeHuray, resource for English church polyphony, c. torical pronunciations, especially for very was written by eight authors. Each looked 1390-1559." He concludes that during specific places and times, and then ex­ at a particular facet of English choral prac­ the fifteenth century, standard practice plains the methods used to achieve the tice or area of historical interest. This is grew from men singing plainsong and best possible estimation. Regarding Latin, not a comprehensive volume in any way, polyphony to full choirs, including boys, we "experiment with different methods bur rather a compilation of scholarship singing in an established SATB voicing in the hope of achieving something that centered around choral music in England that is with us to this day. He also ad­ makes sense at as many levels as possible" between 1400-1650. Therefore, any dresses sounding pitch, vocal scoring, and (p. 89). Her arguments and conclusions single performer or scholar may find ele­ the development of repertory for full cho­ have the stamp of logical reasoning. Re­ ments of interest only in certain chapters. rus. garding English pronunciation, she states This is not a survey or an instructional Roger Bray addresses "Editing and per­ that in the sixteenth century, singing vo­ method book. It serves to raise issues and forming musica speculativa" in chapter cal production approximately equalled questions and thereby helps inform and two. He defines musica speculativa as speaking vocal production. Modern sing­ engage our thought processes regarding "music that is conceived and presented in ing, based on bel canto, alters the lan­ the music. an esoteric format for academic presenta­ guage sounds away from spoken sounds. None of the eight authors saw each tion" (p. 48). While his exhaustive dis­ She contends this would not have been other's work before publication. Hence, course will be admired by fellow scholars, done in sixteenth-century England and in keeping with healthy scholarship, there most performers will find only the end that to approximate their vocal color we are some disagreements-such as the is­ result useful: a readable, decoded score. move away from bel canto toward a vocal sue of proper performing pitch. While Alison Wray contribured chapters three production nearer speech. such disagreements may not immediately and four, "The sound of Latin in En­ David Wulstan's chapter on "Byrd, aid performers, they help us understand gland before and after the Reformation" Tallis, and Ferrabosco" addresses the mu­ the range of options open to us and help and "English pronunciation, c. 1500-c. sical influences on Byrd, particularly us ask the right questions along the way. 1625." Performers and scholars alike will Alfonso Ferrabosco. He also presents sig­ nificant computer analysis of pitch, range, and clef patterns, contending that both English and Latin church music of the time would have been sung at a consis­ The New John Rutter tent pitch, "which was slightly below a minor third above present-day 'concert pitch' (a=440)" (p. 110). Compendium! David Mateer addresses "John Baldwin and changing concepts oftext underlay." Baldwin was a late Elizabethan scribe. Topics include text underlay in long melismatic passages, questionably re­ peated textual phrases and the proper in­ terpretation of the ditto sign in Elizabethan scores. In "Sacred song in the chamber," John Milsom regards chamber performances of pre-Reformation Latin sacred music in the late sixteenth century. He concludes that such polyphony was sung by "con­ sorts of solo voices (and of instruments)" Now two of English Composer John Rutter's most frequently performed (p. 179) and that therefore such perfor­ and requested compositions, Requiem and Magnificat are available on one mances today would be both appropriate recording (CD or cassette), sung by The Cambridge Singers and available and desirable. in the USA exclusively from Collegium Records, 800-367-9059. Janes Flynn details "The education of choristers in England during the sixteenth century," chronicling the changes in their curricula and priorities. John Morehen concludes the volume with "The 'Burden of Proof': the editor as detective." He "addresses a sample

PAGE 62 CHORAL JOURNAL selection of such areas of concern" (p. unaccompanied Amen, Miserere and Totus and early music, all ofwhich are explained 200) as music and verbal text, composi­ Tum. The numerous folk-song arrange­ thoroughly. tional structure and performing practice. ments and shorter sacred pieces, many of His seminal works, including the He gives clear examples of such "detective which remain unpublished, are also dis­ Credo for piano, choirs, and orchestra, work" and the processes therein. cussed. G6recki made this shift in com­ set tonal and atonal forces in confronta­ While this volume is valuable for the positional style: tion. After this composition Pan, like insights it gives into the process of explor­ G6recki, went through a tremendous ing our repertoire, much of it is not of in his own time and for his own change of style and began composing immediate use to choral performers. Its reasons: to harness his discoveries pieces titled "tinntinnabuli." He made this multifaceted approach is both bane and to overtly expressive and somecimes change by: blessing: few will be interested in every­ highly personal compositions. An thing here, but many will benefit from integral part of this new focus was 'learning how to walk again as a certain aspects. For performers I particu­ G6recki's wish to return to the composer.' With Gregorian chant larly recommend Alison Wray's chapters human voice. (p. 70) as his source, he studied how to on pronunciation and John Milsom's ap­ write a single line of music. Writing proach to consort performance. The author also includes comprehen­ semi-automatically, page after page, Mark M Ring, DMA sive repertoire lists, a discography, and flliing book after book, he sought

Moorhead High School bibliography. to enter a different sense of time, 0 Moorhead, MN Paul Hillier takes a compositional, to fully assimilate all that might be rather than a biographical, focus in his meant by the idea of "monody." In volume on the Estonian composer. In dis­ this way he sought to steep himself Adrian Thomas cussing Part's music, the author gives four in a new tradition, not artificially, Gorecki topics that are essential to the understand­ but assimilating it bit by bit, Oxford: Clarendon Press, 1997. 187 pp. ing of his writing: music and spirituality pulling it gradually to the surface $19.95. ISBN: 0-19-816616-8 (with special reference to Russian Ortho­ in such a way that it might become (Softcover) doxy), the sounds of bells, minimalism, second nature. (p. 74)

Paul Hillier Arvo Part Oxford: Clarendon Press, 1997.219 pp. $19.95. ISBN: 0-19-816394-0 The New Pendereclci (Softcover)

OTH OF THESE soft-cover Credo! books are from the Oxford Stud­ Bies of Composers series of twenti­ eth-century composers published under the Clarendon Press imprint. The authors have personal relationships with their composer and have given the musical community documents that serve as com­ mendable musical and biographical in­ troductions. Each book discusses the composer's compositional journey, from early avant-garde pieces to the miminalist works of recent years, and has extensive musical examples and detailed theoretical analysis of repertoire. The highly acclaimed finale of the July 1998 Oregon Bach Festival was Adrian Thomas organizes his text chro­ the world premiere of KrzysztofPenderecki's Credo, conducted by Helmuth Rilling and recorded on the Hiinssler Classic label. It is now available in nologically, tracing G6recki's music the USA exclusively through Collegium Records, 800-367-9059. through life experiences, which include debilitating illnesses and an early life-shap­ ing experience at Auschwitz. The reader is given an in-depth look into his compo­ sitions, from the avant-garde (including the choral works Epitafium, Ad mattem, and the Second Symphony) to the

OCTOBER 1998 PAGE 63 The basis of Part's tintinnabuli style is a two-part texture consisting of a "me­ lodic" voice (the M voice) moving mostly by step from or towards a central pitch, and a "tintinnabuli" (T) voice sounding the notes of the tonic triad. The author explains in detail the construction of each voice and gives lengthy analysis of the first seven of these pieces composed in 1976. Also examined are the Passio (pas­ sion), Te Deum, Stab at Mater, Miserere, and Litany, as well as shorter works (in­ cluding The Beatitudes and Magnificat). The chapter on performance practice will be of great assistance in the prepara­ tion of Part's scores. The author also in­ cludes a list of works, bibliography, and discography. Conductors planning to present reper­ toire by either composer should consider these books as required reading in the preparation of their scores. Gregory M. Pysh First Presbyterian Church MidlandTX -CJ-

(Continued from p. 31.) The concert venues for the conven­ tion are the historic Medinah Temple and the highly renowned and recently reno­ vated Orchestra Hall. Following the tra­ dition of the last several national conventions, coequal Gold and Platinum tracks will accommodate the first five thousand anticipated registrants. Regis­ trants beyond the first 5,000 will be is­ sued a Blue badge. On Wednesday and Thursday evenings the Gold and Plati­ num badge holders will alternate hearing a performance of Brahms's Requiem, per­ formed by the Chicago Symphony Or­ chestra and Chorus, and the International Night, featuring the Children's Choir of Moscow Musical Pedagogical College, the Boys' and Youths' Choir of the Ekaterinburg Municipality, the Chamber Choir of the Krasnoyarsk Pedagogical College, and the Inner Mongolia Youth Chorus. Blue badge holders will not hear Brahms's Requiem, unless they attend a complete run-through dress rehearsal on Tuesday evening. In addition, Blue badge holders will hear all other concerts in the Medinah Temple. (Continued on p. 77.)

PAGE 64 CHORAL JOURNAL ~...... ~

1/ CORAL RIDGE PRESBYTERIAN CHURCH , FORT LAUDERDALE, FLORIDA TWENTY"" FOURTH ANNUAL I CHURCH MUSIC EXPLOSION JANUARY 6 .. 10, 1999

FACULTY AND WORKSHOP FEATURES • Alice Parker opens the annual Church Music Explosion with one of her well-known and wonderful "hymn sings." In addition to her hymn sing, Miss Parker will teach classes on composition and arranging for choirs. • Allen Crowell will teach classes in choir techniques and conducting. • Acclaimed virtuoso organist, Olivier Latry, Titular Organist of Notre Dame Cathedral in Paris, France, will teach masterclasses and workshops. Olivier will conduct four master classes on repertoire, as well as playa concert on Friday evening. Resident organists of Coral Ridge Church will teach service repertoire and service playing techniques. • Madeline Bridges will teach the classes on children's choirs-teaching techniques, voice building, repertoire, etc. • All facets of youth choirs will be taught by Terry Goolsby. • Classes in the art of handbell ringing and the Performing Handbell choir will be conducted by Arnold Sherman. • Robert Rucker will prepare and lead the daily chapel services for the CME, as well as teach classes in the philosophy and practice of church music, hymnody and drama, as it relates to contemporary church musicians of all worship traditions. • David Schwoebel will teach classes in piano and choral arranging. • "Meet the Composer" sessions will highlight the personalities and the music of Alice Parker, Randol Bass and David Schwoebei. • Closing "Festival of Praise", conducted by Allen Crowell, features the com­ bined Coral Ridge Chancel Choir (John L. Wilson, Director of Music) and workshop choirs, brass and handbells. Repertoire will include "Gloria" by Randol Bass, and conducted by the composer. • Five Choral Reading sessions, fellowship, wonderful food, Florida sun, AugsburgiFortress Bookstore, exhibits, and much more. Orchestrating a concert tour requires years of experience. Our staff of music and travel professionals pay constant attention to the coundess details that spell success. We provide appealing venues and all the necessary publicity. Central Holidays Concert Tours has offices both in the USA and Italy. So you can expect unparalleled service for a song.

Guest Conductors to be announced

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Call your travel agent or 1.800.935.5000 ext. 365 or fax Ida Dunham at 617.566.3262 e-mail: [email protected] ~------CHORAL REVIEWS Corydon]. Carlson, editor

Editor's Note: In this issue we review PUBLISHERS THIS ISSUE choral works from the Jewish tradition, in a variety of voicings. Boosey & Hawkes LDDM Gordon V. Thompson Music 35 Easr 21sr Srreer Laurendale Associates, agem Warner Boot!=; Music PublicaIions, New York, NY 10010 10535 Wyandorre Sueer agenr Ai shlosha d'varim Van Nuys, CA 91405 15800 NW Fony-eighrh Avenue Allan E. Naplan Neil A. Kjos Music Company Miami, FL 33014 4380 Jucland Drive National Music Publishers Two-part treble, piano San Diego, CA92117 16605 Townhouse Drive TransconrinenraI Music Publicarions Boosey & Hawkes, OCTB6783, $1.10 T uson, CA 92680 838 Fifrh Avenue law.;on-GouldMusicPublish=,Inc. New York, NY 10021 Alfred Publishing Company, Plymouth Music Company Allan Naplan's At shlosha d'varim is a agem 170 NE Thiny-rhird Sueer World Music Press remarkable achievement. Its lyricism and P.O. Box 10003 Fon Lauderdale, FL 33334 P.O. Box 2565 overall musicianship, its textual integrity, Van Nuys, CA 91410 Danbury, CT 06813 Theodore Presser Company and its accessibility to young singers at all Presser Place levels ensure that it will undoubtedly be­ Bryn Mawr, PA 19010 come a standard in the repertoire for children's choirs. The Hebrew text is taken from Pirkei Avot Qewish morality laws) but is essentially secular: "The world is sustained by three things: by truth, by VOCAL RANGES justice, and by peace." No singing trans­ lation is provided or needed; even choirs c c unaccustomed to Hebrew will have no trouble learning to pronounce the two phrases of this text. The piece begins in AI> major with a soloist or unison group singing the first quietly. The vocal writing in this piece is the overall beauty of the piece. (A pianist half of the text twice; the simple but paired with an accompaniment that pia­ with secure technique and a great deal of lovely melody has an antecedent/ conse­ nists will truly enjoy and that enhances musicianship will be needed.) quent structure, with the first statement ending on the dominant and the second Thomas Creative Apparel returning to the tonic. This melody is tailors the finest choral robes in then repeated in unison by the entire the industry. Design your own robe using our Robe A LaCarte" choir. The second half of the text follows, options. Call us today at 1-800- again sung twice in antecedent/ conse­ 537-2575 for your complimen­ quent format; this melody is somewhat tary choral catalog and new more rhythmically active than the first swatch portfolio. Also, ask for ,our Choral Discount one. The antecedent phrase concludes Certificateso. with an ascent to an &z on the word "hashalom," and the consequent again Z • returns to the tonic. The choir then di­ vides into two parts, and the two melo­ Tnb~~ dies introduced earlier are combined in "partner song" style, although that term does not really do this piece justice. (Un­ like many such pieces, the listener does not see the "partnership" coming several pages before it actually happens, making it a pleasant surprise.) A modulation to A follows, and a final statement of the two melodies together leads to a concluding

repetition of "has hal om" as the piece ends Customm have come [0 dr:pcnd on Thomas ror innovative ideas, reliable sen;cl: and high quaIirr products at f.lir pricc:s. \rISit our wr:bsitc ar: \\i\i\",momasrobc:s.com Customr:r Hodim:: 1·800·537·2575

OCTOBER 1998 PAGE 67 Allan Naplan is to be congratulated, a young choir who would not fall in love an adaptacion of an 1890 poem by Mor­ not only for writing one of the loveliest with this piece. Highly recommended. ris Winchevsky titled ''Akhdes'' (Unity) two-part pieces published in recent years, Corydon J Carlson published in a monthly journal of Yid­ but also for demonstrating that a piece of dish culture, In the 1920s this was con­ music can be of the highest quality with­ sidered the most popular folk song in the out being inaccessible or too difficult for old country. Each time it was sung, some­ most children's choirs. Al shlosha d'varim Ale brider thing was added by each singer extempo­ is worthy of performance by festival Joshua Jacobson (arr.) raneously. gtoupS and other outstanding choirs (it SATB, piano This arrangement is set for solo was written for Janet Galvan's Ithaca World Music Press, #30, $1.50 (middle or low voice) and chorus. The Children's Choir), but its "partner song" accompaniment is merely a suggestion, structure also makes it accessible to gtoUpS This lively, Eastern European folk song and the pianist should feel free to impro­ singing in two parts for the first time. It is a welcome addition to the repertoire. vise in a "joyous pesante" style. The cho­ is difficult to imagine either a director or Sung in Yiddish, the song is derived from rus consists of "oy, yoy, yoy" vocables typical of the Hassidic style. Since the choral response is simple in melody and SMOKY MOUNTAIN harmony, audience parcicipation may be a natural response! A pronunciation guide MUSIC FESTIVAL 1999 and a literal translation are included in this fine edition. The text loosely trans­ 2 or 3 nights in lates to mean "We are all united, whether GATLINBURG, TENNESSEE we have much or little," This arrange­ April 16-17 April 30-May 1 May 7-8 ment, also available for SA voices (#31), Competition in: is easily accessible and would make a won­ Concert Choir. Men and Women's Chorus derful closing number to a folk-song set. Madrigal Choir • Jazz Choir • Show Choir Iris S. Levine Festival Director: Dr. W J Julian Director of Bands Emeritus: University of Tennessee. Knoxville 1-800-553-1032 (423) 693-5470 (423) 938-0246 (fax) E-mail: [email protected] Am Yisreal chai! Call between the hours of John Weinzweig 9:00 a.m. - 5:00 p.m. Eastern SATB, piano In our 17th year, the experienced, permanent staff insures a Transconcinental, 991448, $2.50 smooth-running weekend in the heart of the beautiful Smoley Mountains. The festival includes either a two or three night Commissioned in 1953 by the Cana­ package with accommodations in afirst class Gatlinburg motel; dian Jewish Congress in Toronto for its adjudication by nationally Imownjudges; trophies to winning Jewish Music Festival, this setting of groups; and plaques to all participating groups. Malka Lee's Yiddish poem Israel Lives! is TOTAL COST: $100 per student (2 nights package) an affirmation of faith, hope, and soli­ $125 per student (3 nights package) darity in the face of continued and hos­ tile oppression. The work's general Adjudicators will be chosenfrom thefollowing: Dr. Anton Armstrong. Dr. Charles Ball. Duncan Couch. accessibility--there is a considerable Dr. Eph Ehly. Dr. David Greenlee. Craig Jessop. Weston Noble. amount of unison writing and canonic John Ribble. Dr. Charles Smith. Dr. Robert Stoll. polyphony-is enhanced throughout by Dr. David Stutzenberger and Dr. Eric Thorson. variations of meter, dynamic, tempo, tex­ ture, and accompaniment. A singing Areas of Interest: translation is printed below the Hebrew ( ) Concert Choir ) Madrigal Choir ) Men's Chorus ( ) Women's Chorus ) Show Choir ) Jazz Choir text, and a satisfactory combination of ( ) Senior High School ) Junior High School ) Middle School the two is possible, if desired. A compre­ ( ) Elementary School hensive pronunciation guide is included. W~kffidmterest~: ______In light of the circumstances surround­ Nmne ______ing its composition the spirit of Am Yisrael School ______chai!would probably best be served by a Address ______large (or massed) choir, where delivery of unisons and vertical sonorities will have Phone ______maximum and intended impact. If pro­ Mail to Dr. WJ Julian, 601 Westborough Rd.. Knoxville, TN 37909 grammed within the context of a secular

PAGE 68 CHORAL JOURNAL concert 'or festival, some tambourines and the coming of the Messiah"-is suitable Dona, dona hand-clapping would certainly add to the for large or small choir (within the con­ Sheld01l Secunda celebratory nature of the piece. text of a liturgical service), is not vocally Ruth Dwyer (arr.) The initial melodic statement, a rhyth­ or technically demanding, and could be Two-part treble, piano mic ascending, descending line, is cast in performed unaccompanied. The piece is Plymouth, HL-525, $1.35 the minor mode and becomes the "cell" concise, lasting two minutes, fifteen sec­ from which the rest of the composition onds, and beautifully proportioned­ Dona, dona is another excellent evolves. The poetry dictates the param­ choir vs. cantor, traditional harmonic children's choir piece from the Henry eters of each new section as well as musi­ relationships, symmetric repetition. This Leck series. The original song was com­ cal shape and substance. Tessituras are is an eloquent example of a non-intrusive posed in 1940 for the Yiddish musical comfortable, lying well within the range musical setting where the composer cre­ theatre and has since been adopted into of high school singers, and the sight-read­ ated around the text a perfect musical the Jewish folk tradition. The piece is in able accompaniment is both supportive ambiance, in this instance one of un­ verse-refrain form with three verses, each and independent of the choral parts. equivocal supplication and trust. With in unison. The refrain moves into a simple Stephanie A. Hemy the exception of the middle cantorial solo, two-part texture, setting the title word the full choir sings throughout in a lilt­ "Dona." With its modal mixture and up­ ing, syllabic fashion. beat, syncopated character, it is very simi­ Biographical notes about composer lar to the Naplan Hine rna tOY reviewed Anima'amin William Sharlin (b. 1920) reveal a long, below. The secular English text is a mod­ William Shadin fruitful career in the study, writing, and ern fable about attaining freedom, ap­ SATB, cantor, keyboard performance of sacred music. A literal propriate to its historical context. LDDM (Laurendale, agent), CH-1207, translation is included, but there is no Elizabeth Schauer 95¢ singing translation; a pronunciation guide is also included. William Sharlin's setting of Genesis Stephanie A. Hemy 49:12-"1 believe with perfect faith in

(Jet tliere in 1999 uJitIi :Peifvrmingfirtsfibroad

Sunshine Parades International Music Festival of the Ozarks French and Italian Riviera and Athens April 30-May 2 and May 14-16 held annually at Year End; Sydney and Blue Ridge Music Festival Hong Kong held annually at Easter April 16-18 and May 21-23 h MusicFest USA Festival of the Rockies MUSlc:r=...5TOrlaijdoJ"7JOtidaarea May 28-30 and June 4-6 .,U~, . Mar-i:hJI-i\pril4, . /".M~sit:FestCamlda ...... '::' Hawaiian Festival of Music ··~Toronto'0ntarib,: . ,.:.:.;.. :.... ' ...... April 6-13 'May 17-24 "', Toronto Music Festival ...... ,.... ;./.. : .. ;...... ,.~-.. : ... "" "\" April 23-25

...­ New Orleans Music Festival / April 30-May 2 Chicago Music Festival April 16-18,April 30-May 2 and May 14-16 Festival of the Nations Aprill6-18and May 7-9 Festival of Music: New England April 16-18 and May 7-9 Fiesta de San Francisco April 23-25

OCTOBER 1998 PAGE 69 Esa einai the beauriful, lilting melody, as well as to Hakotel Shlomo Carlebach sing contrapuntally conceived counter­ Dov Seiter Samual Adler (arr.) melodies. While the melody is fairly Joshua R. Jacobson (arr.) SATB, keyboard straightforward, the countermelodies SATB, keyboard Transcontinental, 991456, $1 have slightly challenging intervallic skips. Transcontinental, 991452, $1.70 While the ranges are generally comfort­ This lovely setting of Psalm 121 gives able, the opening soprano descending line Jacobson's arrangement of "Hakotel" an opportunity for all sections to carry is slightly tricky as it begins on f and (The Wall) is an eloquent tribute to the occurs on an off-beat. The Hebrew text is sentiments and the message contained in not difficult, bur a pronunciation guide the poignant lyrics of Y. Gamzu: "The DIRECTOR OF would have been helpful. Because it is set Wall is covered with hyssop and sorrow / MUSIC MINISTRIES in d minor, some may consider the mood The Wall is covered with bullets and of this piece to be somber, bur the overall blood. / Some people have hearts of stone; IGHT HUNDRED-plus-member church Eseeks full-time DIRECTOR OF MUSIC message is one of hope. This piece is / some stones have human hearts." One MINISTRIES to help create, plan, and lead wor­ recommended for synagogue/church of four songs in the set Israeli Songs of ship. Qualificacions include: a belief in Jesus Christ choir, high school, college, or commu­ war and Peace, Hakotel was written in as personal Savior; saong vocal and organ skills; ability in contemporary, informal, and traditional nity choir. 1967 after the Six-Day War and refers to styles; giftedness in direccing vocal and handbell Iris S. Levine what is left of the ancient Sanctuary in choirs ofall ages. Training and experience required. Jerusalem, which was destroyed by the Send resume to: Chairperson, Search Commirree, Director of Music Minisaies, First Presbyterian Romans in 70 C.E. Church, 505 S. Dewey, Barrlesville, OK 74003. The strophic setting takes its point of departure from Dov Seiter's haunting melody, which is prominent throughout, harmonized sparingly by sustained chord tones, and supported by an independent keyboard part. The most forceful four­ Tour With Your Choir part writing (eight parts are cued) is re­ and pelform in the Great Cathedrals and Historic Churches. served for the text quoted above, used here as a metaphor for the power con­ • Brazil • Great Britain • Europe tained within this Holy Place. A literal • USA I Canada • Australia, New Zealand & Fiji translation of the Hebrew text is included, Travel with the professionals who have been revealing a brief but extremely moving coordinating concert tours for 30 years. poem of two individuals at The Wall, AMBASSADOR TOURS 148 E. Michigan Avenue / Kalamazoo, MI 49007 one royalty, another the mother of a de­ E{t)) TEL: 1-800-830-4448 FAX: 616/349-7674 ceased infantryman. http://www.ambassador-tours.com The overall dynamic of Hakotel is pi­ ano, the mood one of reverence and re­ flection; the independent accompaniment is augmented by optional electric bass. The vocal lines are beautifully wrought and easy, the tenors gl and the basses &1 SOLI DEO GLORIA occurring only twice. Divisi is both cre­ ative and optional, making this arrange­ ment accessible to choirs of all sizes and TORO resources. Stephanie A. Henry

John Rutter hails our new CD as wassail cup full ofwell -loved carols miraculousJy made new!" Hallelujah Andrea Jill Higgins SATB, keyboard RUM CHRISTMAS! Transcontinental, 991342, $1.20 !ry SOLI DEO GLORIA CANTORUM Almeda Berkey. Music Director This easy, majestic setting of Psalm 150 is a welcome addition. to the reper­ Order Toll-Free 888-303-4112 toire. Thematic material presented in the

PAGE 70 CHORAL JOURNAL women's voices is answered one measure (Rosh Hashanah and Yom Kippur). In its This is a lively syncopated setting of later by the men, creating an antiphonal Hebrew text, the prayer asks for God's Psalm 133, "Behold, how good it is for feel. Set in ABA form, the B section calls blessings and that He inscribe us in the brethren to dwell together in peace," pre­ for a soprano solo answered by the entire Book of Life for the coming year. The sented in two contrasting sections. The choir. This builds to a final A statement, chorus introduces the melody in the first first is a spirited refrain on the syllable which is set homophonically rather than Gf two verses, joined by the cantor's en­ "lai." The second section includes the antiphonally. uance in the latter part of this short work. text of the psalm set in F major, contrast­ The text is in English; the ranges are The harmonic underpinning emphasizes ing with the O-minor mode of the re­ moderate, and no real difficulty is pre­ constant eighth-note movement, giving a frain. Both the refrain and the verse are sented in this piece. Recommended for sense of energy to a fairly straightforward first presented in unison. The piece is synagogue/church choir, high school, or tune in AB form. A piano reduction is then extended through a repetition of community choir, Hallelujah is a quick provided, as is a pronunciation guide. each in a simple two-part texture. The study and a good opening selection. The absence of an English text tends to upper and lower voices each take a turn Iris S. Levine limit its usage to the synagogue and spe­ providing the harmonizing part. Hine ma cial concert occasions, yet it is an effec­ tov contains moderate ranges and memo­ tive setting within the reach of most rable melodies and is an accessible, grati­ choirs. fYing introduction to two-part singing. Hayom t'amtzellu Michael Braz With its universal text (an uncredited Joseph Leonard English version is provided) and its mu­ SATB, cantor sical appeal, it is appropriate for a variety LOOM (Laurendale, agent), CH-13U, of treble ensembles and performing occa­ 95¢ Hine ma tov sIOns. Allan E. Naplan Elizabeth Schauer Joel Pressman has edited this Two-part treble, piano marchiike, yet plaintive selection from Boosey & Hawkes, OCTB6782, $1 the Jewish liturgy for the High Holy Days

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OCTOBER 1998 PAGE 71 Hiney ma tov (How Good It Is) the Hebrew text in a chromatic manner religious and general occasions. Brian Middleton (arr.) reminiscent of Russian Romantic writ­ Michael Braz TTBB, piano ing. Following a modal shift to G major Lawson-Gould (Alfred, agent), 52843, and-to all appearances-a final cadence, $1.25 an unaccompanied coda appears, begin­ ning in the original e minor and gently III Memoriam Leonard Be17lstein Brian Middleton has created a lyrical, moving, once more, to a final G-major Srul Irving Glick somewhat introspective setting of this tra­ chord. SATB, piano ditional Hebrew folk song based on Psalm With the exception of several low sec­ Gordon V. Thompson (Warner Bros., 133, which extols the pleasures of peace ond bass notes in the first verse (D; and agent), published separately: and brotherhood. Beginning in e minor E, undoubled in the accompaniment), 1. "Psalm 23-The Lord is My with a restrained statement of the origi­ the piece should provide no special diffi­ Shepherd," VE.!. 1156, $2.25 nal Hebrew text, the work grows from culties for a typical men's choir. While no 2. "What I Have Learned is This," unison to four parts while always gaining pronunciation guide is provided for the VE.1.1157, $1.75 energy. A key change to g minor offers an Hebrew, this need not be an obstacle, as 3. "Lenny," VE.!. 1158, $2.25 opportunity to continue dynamic and the text consists of only eight words. The 4. "Memorial Kaddish," VE.1.1159, texrural development, this time treating piano part is supportive, and the work's $1.95 Maurice Goldman's English translation overall concept is sensitive and clear, re­ in a melismatic manner. Middleton treats sulting in a setring that could be used for One of Canada's most prolific com­ posers, Srul Irving Glick (b. 1934) cre­ ated this most unusual group of pieces For Great Performances, for the Elmer Iseler Singers' performance Prepare with CHORALPREp™ Recordings. at the 1993 Toronto International Cho­ ral Festival. Since Iseler wanted to focus Specializing in "These tapes have helped liS start at a on the music of Leonard Bernstein, Glick Iligher /1lllSical level, alld progress beautifully produced drew upon his admiration of the late com­ study tapes of the rapidly. Fewer sectionals are choral lU'lsterworks. needed as singers are able poser-conductor-pianist in adapting two to prepare and review Oil their Featuring lovely woodwind of the Hebrew texts forming the basis of OWIl ... Clearly tile easiest to lise sounds. Offering a separate Or tile practice tapes I've Ilea rd. " this composition: Psalm 23 (which highlighted mix for each voice part. Dr. David Stevens Bernstein utilizes in the second move­ Accurate. Clear. Musical. Music Director, Austin Civic Chorus ment of Chichester Psalms) and the Please call for a FREE DEMO Mourner's Kaddish (a prayer praising God, and more information. "Collldll't 1!ave dOlle it WitllOllt 'ya." but omitting any reference to death), 1-800-444-SATB . Anchorage Festival ~horister which inspired Bernstein's Symphony No. ~ORALPREP'" Brahms ReqUiem (1992) 3 ("Kaddish"). Literal translations of these texts are provided. Glick has added two ~~ COR DIN G 5 English movements: a setting of his own 4004 September Song Drive· Manchaca, Texas 78652 • FAX (512) 282-8585 • Austin Phone (512) 282-5599 poem of meditation upon the personality of Bernstein and a freely rendered ver­ sion of Ecclesiastes 5:17-20. While the writing is reasonably ad­ vanced, with divisi throughout and occa­ l IRST UNITED METHODIST CHURCH, Cuyahoga Falls, Ohio, a 3000-member church sional range extremes among tenors (b ) Flocared adjacem to Akron, Ohio, and 35 miles soum of Cleveland, is seeking a dynamic and basses (C), Glick's work is wonder­ person to serve as full rime direcror of music. The director will have primary responsibility for a fully varied. He begins with a bluesy set­ 70-voice adulr choir (averaging 45-50 presem on a Sunday), a 60-voice high school youm choir, ting of the Hebrew Psalm 23 in which and a 65-voice middle school-age choir. A full rime organisr is on our sraff and gives principal the syllabic choral writing is offset by leadership to bell choirs. Children's choirs are mainly direcred by qualified volun reers. We have 4 children's choirs wirh an average of 20 in each group. The successful applicanr will have a high alternately jazzy and rhapsodic piano figu­ degree of musicianship wim emphasis on vocal and choral performance, a desire ro minisrer ro rations wandering freely throughout the me choir members, excellem organizarional and managerial skills. Organisr and music secrerary movement. The second movement, reporr ro Director of Music. Musr have excellem relarional skills and me ability to morivare "What I Have Learned is This," is a gentle persons to parricipare in our srrong and very imporranr music minisrry. Congregarion seeks a ~ pastorale in minor, praising the en­ crearive, energeric, experienced director wim a 4 year college degree. Masrers degree is preferred. n Salary $40,700 wim full benefirs. Also provided is $400 for conrinuing educarion and $500 joyment of the fruits of one's labors and annually for local rravel expense. Persons seeking posirion as organisdchoir director should nor ending with a graceful, dancelike ~ piano apply. Open posirion is for Director of Music only. Send resume and a lisr of references to Carol solo. Lewis, Adminisrrarive Assisranr to rhe Senior Minisrer, Firsr Unired Memodisr Church, 245 "Lenny" is a vivacious, edgy tour de Porrage Trail, Cuyahoga Falls, OH 44221. force with a feeling of perpetual motion.

PAGE 72 CHORAL JOURNAL

Each statement of the ritornello ("dy­ singing translation by Andrea re-statement of the opening phrase. A namic energy exploding in music") is fol­ Kirschenblatt is provided. The short work very accessible piece, Ketsele, shtil con­ lowed by an episodic fragment relating is through-composed, concluding with a tains easy rhythms, a moderate range, to Bernstein's work, life, and love. The and a vocal line that is doubled in the concluding work, "Memorial Kaddish," accompaniment. The lento tempo and is a dignified-yet energized-setting of fout-bar phrases are opportune for devel­ this most solemn prayer, a staple of Jew­ oping breath control and phrasing in the ish worship. younger children's ensemble. This piece Whether performed as a group or in­ would provide programmatic contrast to dividually, In Memorial Leonard Bernstein stands as a fascinating testimony to Glick's MUSIC respect. He writes, not in imitation, but TOURS INC. in loving tribute. GMadrig. Michael Braz CVinner by Paul Brandvik cripts author of QUALITY The Compleet Madrigal Dinner Booke Jewish Holidays INTERNATIONAL Scripts include: ALL DIALOGUE: Charles Heller (arr.) CONCERT TOURS Greetings, Toasts, Festivities, Unison, keyboard at Concert, Farewell Kjos, 6238, $1.10 REASONABLE PRICES Plus: HUMOROUS RENAISSANCE MASQUE Jewish Holidays is a unison arrange­ Plus: ment of a pre-World War II Yiddish folk REPERTOIRE SUGGESTIONS song from Poland. A polonaise in simple Ceremonial music and concert AB form, its five sixteen-measute verses Call or write today TWENTY-ONE different scripts available, seek to characterize various Jewish holi­ including scripts appropriate for days. Arranger Charles Heller has pro­ for our unique churches and younger performers. vided an English adaptation of the personalIzed service! New this year: original Yiddish. Perhaps this work's THESE FOOLISH KINGS REMIND ME OF ... greatest value is as a sight-singing vehicle for teaching dotted eighth-sixteenth Call or write for your FREE descriptive brochure. Join the thousands who have rhythms (and secondarily dotted quar­ made these Madrigal Dinner Scripts a ter-eighths). It is correlated with Kjos' tradition. Successfol Sight-Singing series. Other than MARK FOSTER that, the piece is very easy, with simplis­ MUSIC TOURS knight .... shtick tic lyrics. The holiday descriptions pro­ press 'B" (800) 869-1406 vided in the preface are uneven (Sukkot, Box 614 Dept. A Purim, and Passover are better explained P.O. Box 2760, Santa Clara Bemidji, MN 56619-0614 Telephone 216-751-2146 than Rosh Hashanah or Chanukah). The California 95055-2760 [email protected] range is accessible (d to ell, with a divisi A Division of EXTREMELY_ LTD. octave f at the end), and the piano part adds some rhythmic interest to the melody. Michael Braz $trHt6 t\p th6 fe,dnd crt Lincoln C6nttrr! Ketsele, shtil (Kitten, Be Still) Michel Gilbert High Schools, Middle Schools, College Bands, and Choruses Charles Heller (arr.) are grabbing the spotlight at New York's Lincoln Center. Unison, piano Kjos, ED 6265, $1.25 Bring your band or chorus to Lincoln Center, and give a concert on the plaza. To book your free plaza performance, call David Kincaide This is a setting of a lullaby with words at Lincoln Center Community Programming (212) 875-5152 by poet L. L. Peretz (1852-1915). The charming text is in Yiddish, but a fine

OCTOBER 1998 PAGE 75 the more common dancelike folk music emerged around 1948 when the struggle Elizabeth Schauer from this tradition. to create a new state of Israel had ceased. Elizabeth Schauer The inclusion of some probing questions, designed to encourage srudents (of all Psalm 150 ages) to examine the epistemological na­ Valentin Alkan ture of this and other musics, should SATB, keyboard Lo yisagoy make for especially illuminating perfor­ Transcontinental, 992043, $1.20 Anthony J. Palmer (an.) mances, not to mention rehearsals. A Two-part, keyboard balalaika-type keyboard part provides A French Romantic composer, National, NMP225, $1.15 rhythmic momentum beneath a simple, Valentin Alkan (1813-88) wrote almost unison statement of the Lo yisa goy tune; exclusively for piano. Although his work This short arrangement of a familiar the last verse includes a treble descant, was virtually ignored after his death, he Israeli folk song is valuable, first for what and the piece ends with a coda on the was lionized as a youth, winning a Pre­ it teaches about Jewish song in particular, words, "And nations shall learn war no mier Prix at age nine for solfege, har­ and second for what it implies about the more. " mony, piano, and organ at the Paris evolution of folk music in general. An­ Stephanie A. Henry Conservatory. Cherubini lauded his tal­ thony Palmer gives the sources and trans­ ents; Chopin, Schumann, and Liszt were lation of the Hebrew text followed by a his close friends and impacted his com­ brief, enlightening descripcion of the his­ positional style. Unlike many of his con­ tory and context of song in Jewish life. Ma navlt temporaries who converted from Judaism We learn how interchangeable sacred and J. Spivak to gain greater status within European secular music are; we learn of the general Barbara Wolfman (arr.) society, Alkan retained his Jewish faith, sources and contexts for much of the Four-part treble, piano composing two short worship pieces. current folk song repertoire-a compel­ Boosey & Hawkes, OCTB6887, $1.60 Psalm 150 (1857) is a majescic homo­ lingly relevant object-lesson in the shap­ phonic proclamation well suited as either ing of human .community; and we learn Originally intended for four-part a concert opener or an effeccive anthem. how a plethora of songs like Lo yisa goy women's chorus, Barbara Wolfman's ar­ Marchlike dotted eighth-sixteenth figures are typical of the modern folk song that rangement of this Israeli dance will in the g-minor opening section contrast provide a challenge for most children's with sweeping scale passages to impart a choirs. The familiar text, "How beauciful sense of energy and awe, climaxing in a upon the mountains," is presented in fortissimo G-major finale ("Let all that Hebrew and is highlighted by a graceful, has breath ... Praise for e'er our God"). mellifluous melody. The tune has a simple A pronunciation guide for Hebrew text Finest Fabrics including Permanent Press and Wash & folk-like character and is first sung by all is included. A singing translation by edi­ , Wear. Superior Quality. Free Color . Catalog and Fabric Swatches on parts in unison. A contrapuntal part is tor Samuel Adler is also provided. The Request. Guaranteed Satisfaction. added at each of the three repetitions technical demands of the composition Toll Free 1-800-826-8612 until there are four independent vocal are minimal, and the range is accessible lines. The beautiful, fluid accompaniment (with occasional bass divisi and high G changes at each repetition of the rune, in both soprano and tenor). The key­ providing harmonic support for the parts board part funccions in both a doubling throughout. and orchestral capacity, advancing the sense of urgency that permeates this elo­ quent affirmation of praise. The Definitive Source for A Cappella and Choral Recordings Michael Braz --Recordings Especially Selected For The Choral Director-- THE SWINGLE SINGERS· THE NYLONS· SINGERS UNLIMITED THE REAL GROUP • ST. OLAF CHOIR • MOSES HOGAN CHORALE • THE CONCORDIA CHOIR· Send Your Bread Forth Beverly McLarry CHANTICLEER SATB, keyboard CAMBRIDGE SINGERS Theodore Presser, 312-41665, $1.30

Beverly McLarry's setting of Ecclesiastes 11: 1,2,7,8 reads like a dream and proves once again that "less is more" For FREE Catalog of other Distinguished Choral Ensembles Write To: in good composition. Composed in 1993 Doug Anderson, Manager, DJ RECORDS· PO Box 95· McMinnville, OR 97128 for the ninetieth anniversary of Temple

PAGE 76 CHORAL JOURNAL B'nai Israel of Oklahoma City, Send Your octave span and diminish to shades of pia­ of the original folk tune. Bread Forth is assured and unencumbered nissimo. Most effective. The vocal lines are not hard (a piano by gimmicks. Stephanie A. Henry reduction is provided), and tessituras are The melody is set alternately in uni­ low; basses sing an occasional A up to d; son, canon, and homophony, with an tenors top at f 1; altos hover within the unobtrusive but seminal keyboard part Y'susum midbm' d-a1 register; those singing soprano I providing an ambient thread through­ Alice Parker (arr.) need precisely two a2s, both on the final out. The initial key area shifts up a half­ SATB (forte) beat. The infrequent divisi could step to A~ minor before modulating to Transcontinental, 991420, $1.50 easily be redistributed in the case of too the major submedient in section B. The few voices. return of the A section in the tonic key "Y'susum midbar" (The desert shall Stephanie A. Henry brings fuller voicings and simultaneous---­ be glad) is part of the set Th1'ee Songs of polytextual-delivery ofEnglish and Hebrew. Life (Zim1'ei Chayim) arranged by Alice -C]- This is a beautiful piece, organically Parker for unaccompanied chorus conceived and appropriate for all ages. (991421, 991422). Over the course of its (Continued from p. 64.) Ranges are comfortable, with high ex­ ten pages, Parker's arrangement-in He­ Finally, the convention will feature the tremes limited to three tenors e1s and a brew-delivers four reconfigurations of King's Singers, the Ensemble Singers of single soprano gz; there is no divisi. The an original melody that combine to form the Plymouth Music Series of Minne­ work is almost four minutes in length. a sustained and gradual crescendo of sota, directed by Philip Brunelle, and the Performance context is not a limiting fac­ voices, culminating in a loud, Vancouver Chamber Choir, directed by tor here: service or concert are equally homorhythmic climax. The text, Isaiah Jon Washburn. A myriad of interest appropriate. 35: 1, 6, continues after the tide verse: sessions and roundtables are planned, Stephanie A. Henry "The wilderness shall rejoice and blos­ making this the most rewarding conven­ som like a rose. / For waters shall burst tion to date. forth in the desert, / streams in the wil­ In addition to the convention head­ Shalom chave1'im derness." The ubiquitous modality of the quarters at the Hyatt Regency Hotel, a Kenneth Hodgson (arr.) folk melody is accompanied throughout number of other hotels, including the SATB by 1) syncopated counterpoint in unison historic Palmer House Hilton and the Plymouth, PDW-1007, $1.15 and open fifths, and 2) droning. Parker's Days Inn Lake Shore Drive, will provide straightforward variation techniques­ housing at affordable rates. Pre-registra­ For the choir sporting a basso "snap" rhythms (a la Mendelssohn), can­ tion packets will be mailed to all ACDA profundo or two, here is an arrangement ons, parallelism, motivic fragmentation, members in October. of the well-known Hebrew farewell song. antiphony-are thoroughly organic, pre­ Short (a minute) and almost predict­ serving the true character and integrity -C]- able-the unexpected sonority of the lowered second-degree is uplifting­ Hodgson's Shalom chaverim is a good ARTISTIC DIREC),OR match for just about all ages from high Saint Louis Symphony Children's Choirs school on. For non-readers the piece will lift off the page quickly; about half of the Full-time directorlconductor provides musical, educational, and artistic arrangement is either unison or canonic. leadership for internationally known program in performance and music The basses extend down to E (B or e can education, involving 400 children with 14 ensembles and a music staff of 18. be substituted, however) and the bari­ 1 tones travel up to e ; the altos dip down Experience to include approximately five years as a conductor of children's to g, and the sopranos sing down to b, choral ensemble(s) and leadership of choral organization, with experience in 2 but no higher than e • As a means of administration, budgeting, planning, and staff supervision. maintaining the vertical integrity of this unaccompanied setting, there is a smat­ Send cover letter, resume, and three references (additional materials on request) tering of divisi in each voice part. The compositional approach is additive: S~rnT LOUIS by November 2,1998 to: sopranos voice the initial tune, followed by SLSCC Search Committee a simple but satisfying alto harmonization, clo Mr. William G. Lukas both in Hebrew (pronunciation guide in­ 2840 North New Ballas Road cluded). There follows a four-part, soprano­ CHILDREN'S St. Louis, MO 63141 dominated rendition in English, a canonic Phone: (314) 537-9801 version in Hebrew, and a five-bar coda CHOIRS where the parts widen to encompass a three-

OCTOBER. 1998 PAGE 77 ADVERTISERS REVIEWERS THIS ISSUE INDEX Michael Braz Stephanie A. Henry Elizabem R. Schauer OCTOBER 1998 Deparrmenr of Music, L.B. 6430 Wesr 85m Srreer Deparrmenr of Music MBACA ...... 49 8052 Los Angeles, CA 90045 Adams Srare College ACFEA Tour Consulranrs ...... 24 Georgia Sourhern Universiry Alamosa, CO 81102 Alliance 1vlusic Publicauons ...... 48 Sraresboro, GA 30460 Iris S. Levine Ambassador Travel Service ...... 70 Music Deparrmenr Augsburg Forness, Publishers ...... 44 Bridsh-European Specialty Tours ...... 47 Corydon J. Carlson California Srare Polyrechnic Broad\vay Beach Musicals ...... 78 P.O. Box 9517 Universiry Can[ll.5 Quercus Press ...... 38 3801 Wesr Temple Avenue Carl Fischer, Inc...... •.....•...... 35 Bolron, CT 06043 Carns-Verlag GmbH ...... •...... •...... 50 Pomona, CA 91768 Central Holidays ...... c•••••••••••••••••••••••••.•••••••••••• 52, 66 ChoralWeb Publishing, Inc...... 22 ChoralPrep Recordings ...... 72 Choral Srudio Productions ...... 26 Church lvlusic Explosion ...... 23, 65 Church Street Music ...... 51 College Music Sociery, The ...... 56 BOOK and MUSIC PUBLISHERS and Collegium Records ...... 62, 63 COMPACT DISC DISTRIBUTORS Concept Tours ...... 55 to: OJ Records ...... 76 Send books, octavos, and discs for review OemiQMusic ...... •...... 48 Choral Jou17lal Des Moines Children's Choruses ...... 29 E. R. Moore Company ...... 18 P.O. Box 6310 ECS Publishing ...... 37 Lawton, Oklahoma 73506 European Incoming Services ...... 6 Field Studies International ...... C4 Telephone: 580/355-8161 First Presbyterian Church, Bartlesville, OK ...... • 70 First United Methodist Church, Cuyahoga Falls, OH ... 72 Fred \"{faring's America ...... 60 CHORAL REVIEWERS Friendship Ambassadors Foundation ...... 45 Hal Leonard Publishing Corpornrion ...... • 33,46 ACDA members wishing to review choral music should contact: Hammond lvfusic Service ...... 57 Wesley Coffman Hetitage Festivals ...... ~ ...... 79 Interculrure Foundation ...... 27 4023 Wembley Terrace Intermedia, Inc.lSrage Accents ...... 14 International Seminars/Music ...... 54 Dallas, TX 75220 Intropa International/USA, Inc...... 53 Telephone: 214/353-8020 Kapellmeister Enterprises. Inc...... 26 Knight-Schrick Press ...... 75 Knights Formal \"{fear ...... 43 Lincoln Center, Inc...... 75 BOOK REVIEWERS Lorenz Corporanon ...... 16 ACDA members wishing to review books about choral music should contact: Lumina Music ...... 37,38,58 Lyric Choir Gown Company ...... 50 Stephen Town Manager Somvare ...... 61 Department of Music Mark Foster Music Company ...... 59 Mark Foster Music Tours ...... 75 Northwest Missouri State University lvlichigan State University ...... 49 Music Around the Globe ...... •...... 32 Maryville, Missouri 64468 Music, Maestro, Please, Inc ...... : ...... 7 Telephone: 816/562-1795 Music \Vorkshops Intcrnanonal ...... 44 Musica Mundi, Inc...... 11,37 Musica Romania ...... 6, 30 Noah Carolina School of the Arrs ...... •...... 71 COMPACT DISC REVIEWERS North American lvlusic Fesrival ...... 8 ACDA members wishing to review compact discs should contact: Ohio State Universiry ...... 17 Oklahoma City University ...... 56 Richard J. Bloesch P & P Education Services ...... 10 School of Music P. T ruckenbrod Concert Artists ...... 73 Pacific Chorale ...... 30 University ofIowa Performing Ans Abroad, Inc ...... 69 Iowa City, Iowa 52242 Performing Arts Consultants ...... 74 Piedmont Choirs ...... 18 Telephone: 319/335-1603 R. Geissler, Inc...... 60 Regency Cap and Go\vn ...... 76 SOG Records/Press ...... •...... •...... 70 Saint Louis Symphony Orchestra ...... n CHORAL JOURNAL Scarecro\v Press ...... 20 SUBMISSION INFORMATION Smolq' Mountain Music Festival ...... 68 Anicles submi[[ed for publicarion in me Choral Jotlmal should meer esrablished Southern lvlusic Company ...... 43 St. Andrew Unired Methodist Church ...... 37 specificarions. Alrhough rhe lengrh of anicles varies considerably, submissions generally Suzuki Music Corporation ...... C3 consisr of ren ro. rwenry ryped, double-spaced pages. Referenced marerial should be Theodore Presser Company ...... 11,49,55 indicared by superscripr and end no res. All submissions musr include six copies, accompa­ Thomas Creative Apparel, Inc...... 67 Triple Disc ...... 5 nying irrwork if available, and a one- or rwo-senrence professional idenrificarion of rhe T urde Creek Chorale ...... 56 aurhor. For complere wrirer's guidelines or ro submir arricles, wrire ro: Managing Ediror; Universiry of Miami ...... 50 ChoralJournal; P.O. Box 6310; Lawron, OK 73506-0310. Univc:rsiry of Mississippi ...... C2 Vanderbilt University ...... 54 West End Cosrumes ...... 11,14,60 \Vestminster Choir College ...... 64 Witte T rnvel ...... 60 Choral Joumallayollt and production: Susan Gower \Vorld Projects Corporation ...... ::: ...... 59 Yale Institute of Sacred Music ...... 58

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CARNEGIE HALL 1999 CONCERT SERIES.' SUNDAY OHIO MUSIC FESTIVAL SUNDAY NATIONAL CHILDREN'S CHOIR

FEBRUARY 14 APRIL 18 Henry Leek-Conductor ,'"'.- 8:30 'PM 8:00 PM NATIONALYOUTH CHOIR ($585.00) Andre Thomas-Conductor

SUNDAY ALABAMA/MIssIssIPPI YOUTH CHORALE SUND.(\.Y' FLORIDA YOUTH CHORALE MARCH 14 Andre Thomas-Conductor APRIL 25 Eph Ehly-Conductor 8:00 PM NORTH CAROLINA YOUTH CHORALE 8:30 PM Jefferson Johnson-Conductor UNIVERSITY OF KENTUCKY CHORALE Jefferson Johnson-Conductor

SUNDAY NORTH CAROLINA MusIC FESTIVAL SUNDAY SOUTHEASTERNMIDDLE SCHOOL SINGERS, MARCH 21 NATIONAL CHILDREN'S CHOIR MAY 2 Lynne Gackle-Conductor 2:00 PM Henry Leek-Conductor 8:30 PM OHIO YOUTH CHORALE ($585.00) NATIONAL YOUTH CHOIR Rohert Bass-Conductor Eph Ehly-Conductor

SUNDAY GEORGIA YOUTH CHORALE FRIDAY MICHIGAN YOUTH CHORALE MARCH 28 Eph Ehly-Conductor MAY 28 TBA-Conductor 8:00 PM TENNESSEE YOUTH CHORALE 8:00 PM Anton Armstrong-Conductor NORTH CAROLINA STATE UNIVERSITY CHOIR Al Sturgis-Conductor

FRIDAY NATIONAL BAND FESTIVAL SUNDAY UTAH YOUTH CHORALE APRIL 2 Frank Battisti, Donald Hunsberger, MAY 30 TBA-Conductor 8:00 PM Craig Kirchhoff, Rohert Reynolds- 8:00 PM ($499.00) Adjudicators "

MONDAY SOUTHERNBAND FESTIVAL WEDNESDAY :', CANADIAN YOUTH CHORALE APRIL 5 JUNE 30 Btuee Fulle'rl'-Conductor 8:00 PM 8:00 PM ($585.00)

Many other dates are also available. Your choir may joill your own Or allother slate for performances. Please call for " , more information and additional dales. "Prices for some programs may differ due to program content. YOUTH CHORALE AT CARNEGIE HALL $595 per person, except where otherwise noted Commemorative T-shirt Orientation Session upon arrival Commemorative Plaque for your School Three nights hotel accommodations in quad rooms Certificate of Achievement for eacp student All hotel taxes, both cily and slale , Guest Conductor for your performance Ho~el baggage handling upon arrival and' departure (I bag per Rehearsal Hall expenses and rental person)', ' Carnegie Hall rental and promotional fees Attend a Broadway Show Accompanist fee . Admission to the Observation Deck of the Empire State Bus transportation on performance day, where necessary Building Field Studie's' Escort to accompany group on sightseeing Admission 10 Ihe Statue of Liberty/Ellis Island National activities Parks Audio Cassette of your performance (one tape per school) .• One chapero~.e free for each.20 paying . , , We willlzappily help YOIl with meals, tra1Z'spor.(afio1Z ' er exCitiizg New York activities, , to makejo' ,,' . ! '"I

..•.