US ISSN 0009-5028 OCTOBER 1976

Official Publication of the AMERICAN CHORAL DIRECTORS ASSOCIATION

11701NV64 KEN MILLER FIRST BAPTIST CHURCH POBOX 255 NATCHEZ MS 39120 THETUC IZONA CHORUS H RAL SERIES! tage proven professional arrangements for young voices.

This challenging ... yet easily accomplished music is designed to evoke responses in both singers and listeners. It includes a wide variety of styles to suit all tastes and is ideal for boys, girls, or mixed groups.

This is a continuing series ...... exciting new material ;s being added all the time. 1917 MASTER CLASSES NEW EXECUTIVE SECRETARY

AT LES ARCS By unanimous recommendation of the Screening Committee and decision of the Les Arcs, Savoie, France, in the Alps Board of Directors at their summer DANIEL J. BRENNER, 4774 22nd Ave- . near Mont Blanc, will be the scene of meeting at Interlochen, Dr. Gene Brooks nue N.E., # I0, Seattle, WA 98105 was appointed the new Executive Secre­ the International Master Classes on Cho- . tary to succeed R. Wayne Hugoboom ral Conducting and Performance from upon his retirement July 1, 1977. The LISTEN, by Joseph Kerman; Worth Pub­ August 5 to 25, 1977 with Marcel Cou­ Executive Secretary office will remain. lishers, Inc., New York, N.Y.; c. 1972, raud as director. Analysis, interpretation, in Tampa until then and all dues and 1976; 420 pp.; Instructor's Manual and correspondence concerning the organiza­ Text. rehearsal and performance techniques, and tion is to be addressed to the Tampa effective conducting will be covered in office this year. This is a most useful text and instruc­ To avoid the confusion and expense of tor's manual, with appropriate musical the various master classes with 5 hours examples and recordings for use in intro­ of course work daily. a double move, all efforts to move the office this past summer were abandoned ducing students to music appreciation Choral works to be studied and per­ following the offer from the MacMahon and form, as well as providing pictoral formed the first week August 5-11, in­ Foundation of Lawton, Oklahoma for a examples of art forms of the respective periods. The text is clear and well-suited clude Poulenc Les Motets pOllr 1HI Temps permanent ACDAHeadquarters. The com­ plete move from Tampa to Lawton will to beginning music instruction, despite de Pen£tence, Sept Chansons.. and Messe be made next summer following comple­ leaving some salient points unclear, e.g. en sol; August 12-18 will be concentrated tion of the May Choral Journal when an opera buffa by Haydn which was cited on Jean Baptiste Lully's D£es Irae, and sufficient time is available to move all but never identified. However, the instruc­ records and equipment at once. tor's manual, which is the second part of Robert Schuman's FOllr Double Choruses this edition, is well equipped with basic ap. 141 will be featured the final week examples for identification of style and of August 19-25. recommended listening, although bela­ boring a bit information which should Master classes are designed for choral MATHIS RECEIVES AWARD already be apparent to the instructor; conductors, identifying choral related Nevertheless, with the. clarity and histori­ problems and solving them, an exchange Dr. Russell Mathis, professor of music cal interest of the text, and the thorough­ of ideas, and sharing of experiences. for at the University of Oklahoma, has been ness of the manual, this double volume music teachers. instrumentalists and honored with the first "Director of Dis­ would be an apt source material for a· tinction" award from the American music appreciation or introductory course. young composers interested in a better Choral Directors Association of Okla­ -Dr. Daniel Josef Brenner understanding of the choral idiom and its homa. The award cites his "outstanding possibilities, and for singers interested contributions to choral music". The in the vocal preparation and performance plaque was presented to Mathis at an Be sure to notify us association workshop in Edmond on of choral masterworks. Tuesday, August 3 to mark the beginning if you have any Attending will be (1) Participating of an annual state award. CHANGE OF ADDRESS conductors· enrolled in the Marcel Cou­ raud classes, who will actually work with 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 the Laboratory Chorus; (2) Auditing conductors, enrolled in the classes, who will attend the Chorus rehearsals but only ANNOUNCING as observers; (3) Singers, enrolled in classes, who form the membership of the Laboratory Chorus; and (4) Auditors, MONOGRAPH NO.2 enrolled in the classes, with chorus parti- ci pation optional. . AN ANNOTATED INVENTORY OF Well-known visiting American conduc- . DISTINCTIVE CHORAL LITERATURE FOR tors will discuss choral life in the United· PERFORMANCE AT THE HIGH SCHOOL LEVEL States; publishers' exhibits, recent re­ leases of new and old music will be intro­ By Margaret B. Hawkins, Chairperson duced through recordings and group High School Standards and Repertoire Committee reading sessions, and meetings wiII be planned with important composers such as A superior work fully annotated which belongs in the hands of every Luis de Pablo. High School and College Choral Director and Choral Majors at all Col­ Choirs already planning European tours leges and Universities.. next summer and those interested should send tapes and pertinent information be­ Please order as MONOGRAPH 2: ANNOTATED CHORAL LIST fore November 15 to their respective Division Presidents whose committees $2:50 per copy wiII forward the top two tapes from each Please remit check or Money Order wtih your order. Division to Vice President Morris D. No invoices will be made for less than 3 copies. Hayes. He and his committee will then Special rates to College and Unrversity Bookstores. choose the top 5 or 6 tapes to be sent Couraud for final screening, decision, and invitation. 1975-76 tapes may be used. For further information contact Dr. Mor­ Also Available! MONOGRAPH NO. 1 ris D. Hayes, University of Wisconsin­ GUIDE FOR THE BEGINNING CHORAL .DIRECTOR Eau Claire, Wisconsin 54701. By The National Committee on High School Choral Music All interested directors, singers, and The Book which precedes the Annotated Choral List by Hawkins. auditors, as well as choirs, are invited to attend. Further information wiII be $1.75 per copy· $1.50 for more than 5 copJes carried in The Choral Journal. :.: IJIIJI 1I111J11J1 IJIIJI IJIIIIIIJI II IJIIJI II IJIIJIII 111111 II III! II IJIIIIIIII II II 1111 1I11111J11 IJI 1111111 III II II III II IIIIJI II II 111111 11111111111111111111111111111111111111111

t OCTOBER 1976 German conductor since World War II Marcel Couraud and Helmuth Rilling to be invited to conduct the Israel Phil­ harmonic, whose resident conductor is Zubin Mehta. Combined with the Gae­ chinger Kantorei, Rilling conducted the Headline National Convention Philharmonic in several performances of the Brahms Ein Deutsches Requiem with CAROLE GLENN which the music of Bach, Te1emann, and Dietrich Fischer-Dieskau as soloist. Sub­ Rameau was written. He recorded a cycle sequent to Rilling's tour of Israel, he Two outstanding foreign conductors ­ of operas for Philips which include Of­ conducted performances of the Bach Pas­ Marcel Couraud of Paris, France, and fenbach's BA-T A-Clan which received sions in Tokyo and Madrid. Rilling is Helmuth Rilling of Stuttgart. Germany the Golden Orpheus Award. Couraud recognized as an authority on the music - will be featured at the 1977 ACDA has an abiding interest in Avant-Garde of ]. S. Bach. He is under contract to National Convention in Dallas, March music and maintains, as did Debussy, Claudius Verlag (in the United States, 10-12. Both conductors have made many that the voice has no limitations and can Musical Heritage) to record the extant friends throughout the United States create any effect. In la:te 1967 Marcel cantatas of Bach. In all, Helmuth Rilling with workshops and concerts they have Couraud was offered the post of Artistic has approximately 150 releases under presented during the past few years. Director of the Ensemble des Choeurs various labels. Soon to be released is a They were both hosts, in their respective at the ORTF (French Radio-Television). book published by C. F. Peters (translated cities of Paris and Stuttgart, for the 1974 It was here that he created Les Solistes into English with a Foreward by Howard ACDA People to People Misison. des Choeurs in 1968. The group consisted Swan) on interpretative ideas rela,ted to At the Dallas convention Couraud will of twelve singers who traveled through­ the performance of the Bach St. Matthew Passion. :.: present a lecture-demonstration on the out the world and recorded extensively. interpretation of the music of Poulenc. In February of 1976 Couraud founded Prior to the convention he will rehearse the Groupe Vocal De France which is the college choir which will be chosen sponsored by the French Ministry of Cul­ to perform during the session. Rilling's tural Affairs and the French Ministry appearance at the convention will focus of Foreign Affairs. The group consists on the music of J. S. Bach and his in­ of only 8-12 professional soloists, all fluence on German composers of the late young prize winners of the Conservatoire Romantic and early 20th century periods. National Superieur de Musique de Paris. He will rehearse an 80-voice conductors The repertoire spans five centuries of chorus which will be chosen from the choral music with an emphasis on music ACDA membership. (See subsequent is­ of ancient times and new contemporary sues of The Choral Journal for audition works. Later this year some of Couraud's information). This choir will present the editions will be published in this country final concert of the convention on Satur­ by Mark Foster. day evening, March 12. In addition. Ril­ Helmuth Rilling is considered one of ling will give a lecture-demonstration in Germany's outstanding choral conductors. which he will trace Bach's influence on He is presently conductor of five choirs, four later composers. Repertoire to be three of which have made numerous re­ performed and studied will be: cordings. They are the Figuralchor of Bach - BWV 150 - Nach dir, Herr. the Gedaechtniskirche in Stuttgart, which verlanget mich Rilling was instrumental in founding; the Mendelssohn - Psalm II Frankfurter Kantorei. previously conduc­ Brahms - Warum ist das Licht ted by Kurt Thomas, world-famous con­ ~IARCEL COURAUD Reger - 0 Tot vie bitten bist du ductor of the St. Thomas Choir in Leip­ David - Der barmherzige Samariter zig; and the distinguished Gaechinger Bach - Motet BWV 225 - Singet dem Kantorei, whose fame as a vocal ensemble Herrn has spread throughout Europe. In 1965 Marcel Couraud's musical background Rilling founded the Bach-Collegium of includes study with Nadia Boulanger, Stuttgart, an orchestra which has already Andre Marchal for organ, Igor Stravin­ moved to a high position in Germany sky for composition, and Charles Munch and has drawn into its ranks leading for conducting. Immediately after the instrumental soloists from throughout Liberation, Couraud founded his En­ that country. Besides concertizing in semble Vocal which performed music of Europe, the orchestra joins with the J osquin, M'onteverdi, and other early mas­ Gaechinger Kantorei for all its perform­ ters. Many of the performances won the ances of masses, oratorios and cantatas. coveted "Grand Prix du Disque". With In the· United States, Rilling has con­ the Stuttgart Vocal Ensemble he per­ ducted workshops and festivals at Aspen, formed the complete choral works of Westminster Choir College, Temple Uni­ Brahms and Schubert. His numerous re­ versity, Indiana University, Baldwin­ cordings with this group are still con­ Wallace College, and the University of sidered classics in their genre. Couraud Oregon. He has appeared in Europe and then explored the Baroque elements Japan with his choir and orchestra at while working with the famous Cappella many festivals including the famous Lon­ Coloniensis Orchestra and utilized the don-Oxford Bach Festival. In January sonorities of the original instruments for of this year. Rilling became the first HELMUTH RILLING

2 THE CHORAL JOURNAL THE • EDPRESS PRESIDENT RUSSELL MATHIS University of Oklahoma Norman, Oklahoma 73069

VICE PRESIDENT MORRIS D. HAYES U. of Wisconsin - Eau Claire Eau Claire, Wisconsin 54701 Official Publication of the American Choral Directors Association PRESIDENT ELECT WALTER S. COLLINS College of Music An affiliate organization of the Music Educators National Conference, 1902 University of ColoradG Association Drive, Reston, Virginia 22091. Boulder, Colorado 80302

SECRETARY-TREASURER Articles are indexed in The Music Index and Musical Article Guide. Micro­ GENE BROOKS film and microfiche available from AM S Press, Inc. 56 E. 13th Street, New Department of Music York 10003. Universitv of Arkansas - Little Rock Little Ra"'ck. Arkansas 72204 • Copyright © 1976 by the American Choral Directors Association BOARD OF DIRECTORS E:reclItive Secretary Editor, The Choral Journal R. WAYNE HUGOBOOM R. WAYNE HUGOBOOM, Managing Editor Volume XVII, No. 2 P. O. Box 17736 Tampa, Florida 33682 Eastern Division. STEPHEN H. PRUSSING 1313 New York Avenue N.W. Washington, D. C. 20005 North Central Division KARLE J. ERICKSON Lawrence Conservatory of Music Appleton, Wisconsin 54911 OCTOBER 1976 N orthwestem Divisioll WILBER D. ELLIOTT 1907 Campus Drive Marcel Couraud and Helmuth Rilling Headline National Convention - Carole Glenn 2 Boise, Idaho 83703 An Early American Alternative to the Traditional Elizabethan SOllthern DivisiOl~ ROBERT K. BAAR Madrigal Dinner - Jolin J. Silantien 5 Murray State University Murray, Kentucky 42071 Vocal Jazz for Your Choir - ·Here's How - Doug Anderson 12 Southwestern Division Pinkham: On Composing HUGH SANDERS West Texas State University An Interview with Daniel Pinkham - James J.l1cCray 15 Canyon. Texas 79015 . One Way to Mike a Musical - JVJike Le'wman 18 Western Division VIRGINIA A. COVERT ACDA Bicentennial Celebration - Harold A. Decker 20 San Diego-Mesa College San Diego, California 92111 "American Cantata" and Bicentennial Chorus - Gu-" B. Webb 22 bldustry Associate Representative Nominees for President 29 JOSEPH M. BOONIN Joseph Boonin, Inc. Nominees for Treasurer 30 P.O. Box 2124 South Hackensack, New Jersey 07606 • 1977 Master Classes at Les Arcs, New Executive Secretary, Mathis Re­ PAST PRESIDENT'S COUNCIL short cieves Award, Book Review, Notes of Interest, 1; President's Message, 4; CHARLES C. HIRT, Chairman Decker to be Clinician at ACDA-FVA Workshop, 11; Book Review, Note University of Southern California subjects University Park Interest, 14; From the Executive Secretary's Desk, 17; Note of Interest, 22; Los Angeles, California 90007 Get Down!, Notes of Interest, 24; Da Capo, 25; Journal Article, Notes of HAROLD A. DECKER Interest, 27; Record Review, 28; Notes of Interest, 29; Student Conductors, University of Illinois Random Thoughts, Note of Interest, 30; Choral Reviews, 31; Chamber Urbana .. Illinois 61801 Choirs, 34; Notes of Interest, Advertisers' Index, 35; State Presidents, 36. HELEN M. HOSMER 48 Elm Street Potsdam, New York 13676 cover Would you like a good sized choir to direct? Here is our genial friend, WARNER IMIG Gustav Ernesaks from Estonia, USSR, directing a folk festival choir of University of Colorado Boulder, Colorado 80302 picture 35,000 before an audience of more than 90,000 in his home town of Tallinn. At the Bicentennial Celebration at Interlochen this summer be captivated ARCHIE N. JONES Route 7, P. O. Box 726J us despite the language barrier. Austin, Texas 78703 ELWOOD J. KEISTER University of Florida Gainesville, Florida 32603 THERON KIRK San Antonio College 1300 San Pedro San Antonio, Texas 78284

Copyright 1976 by the American Choral Directors Association 7514 N. Hubert, Tampa, Florida 33614. Issued 9 times yearly: September through May. Subscriptions to Libraries only. Rates: U. S., Mexico, Canada: $6.00 a year; Foreign: Surface $8.00; Air Mail $10.00. Single copy: $1.00. Second class postage paid at Tampa, Florida and additional entry offices. Published by Makovec Printers, Tarpon Springs, Florida 33589. (Do not return mail to, or communicate with this office.) POSTMASTER: Send Form 3579 to P.O. Box 17736. Tampa. Florida 33682.

OCTOBER 1976 3 Affiliated Organizations

INDIANA CHORAL DIRECTORS ASSOCIATION President Robert E. Stoll (U) Pre~ident!1 Prairie Drive, Rt. #1 Bloomington, Indiana 47401 Treasurer Russell L. Otte (HS) 4310 Homestead Road Fort Wayne, Indiana 46804 Open lntlnr IOWA CHORAL DIRECTORS ASSOCIATION President H. James Kimmel (HS) 4524 White Pine Drive Cedar Rapids, Iowa 52402 To the Secretary - Treasurer Gloria Corbin (HS) R.R. #3, Hwy 20-65N Iowa Falls, Iowa 50126 MONTANA CHORAL Mnmhnn:hip DIRECTORS ASSOCIATION President Russell L. Creaser (HS) 204 19th Street West Billings, Montana 59102 Treasurer Daniel H. Hampson (HS) 2934 Howard Avenue Billings, Montana 59102 NEBRASKA CHORAL DIRECTORS ASSOCIATION President Dwaine E. Price (HS) 8727 0 Street Omaha, Nebraska 68127 . Treasurer Mildred Appleoff 2518 Barada Street Falls City, Nebraska 68355 OHIO CHORAL DIRECTORS ASSOCIATION President It pains me to admit it, but we choral conductors are far too often a pro­ William J. Hamilton "l"incial and professionally myopic bunch. Our territorial interests are often small, sel- 1139 Lindy Lane S.W. Nortll Canton, Ohio 44720 . dom exceeding the boundaries of the institutions that employ us. We accept those Treasurer Mrs. Leora Klotz choral musicians who are in or near professional territory. or who have been recom­ 806 24th Street N.E. Canton, Ohio 44714 mended by friends, and pretty much ignore the rest. We tend to discount fellow PUGET SOUND CHORAL professionals from the East if we are from the West. unless one of our friends gives CONDUCTORS GUILD President a recommendation. VVe develop professional cliques that display the tolerance of a Rush F. Chase 2340 42nd Avenue East Hitler youth group. The truly sad aspect of this is that all of these judgments are Seattle, Washington 98112 Treasurer frequently made on the basis of other people's opinions. emotion, and hearsay. Karla 1II. Timmerman (HS) 38 \'I'estshore Avenue SW All of the above is a preamble to sharing some of my concerns with you. Tacoma, Washington 98498 SOUTHERN CALIFORNIA t~1at VOCAL ASSOCIATION 1. I am concerned 'as choral musicians we are not more concerend with President Carol J. Ulviden one another. We are the American Choral Directors Association and our concerns 12438 Lambert Circle should certainly be greater than our immediate environs. Garden Grove, California 92541 Executive Secretary Mrs. Jane Gerow 2. I am concerned that ACDA bring to the fo'refront the choral leaders in P.O. Box 5522 Pasadena, California 91107 the .20 to 40 age group. We are not identifying these pepole and encouraging them TEXAS CHORAL to make their artistic contributions for the betterment of us all. The way we operate, DIRECTORS ASSOCIATION President ~lozart wouldn't have gotten much farther than harpsichord tuner, first class. James E. Sheppard 539 Patricia San Antonio, Texas 78216 3. I am concerned that when we talk about "ethnic" music, we are equating Secretary-Treasurer ~ith lIIan' 'Ann \Vinden "ethnic" solely "black". . 11503 Savanora Court San Ant~nio, Texas 78216 4. I am concerned that \IIle are not making possible an arena for choral WISCONSIN CHORAL DIRECTORS ASSOCIATION musicians of all ages and backgrounds who care to propose different ideas about President Charles Thomle)' (HS) our art. 6606 Schneider Place :lfcFariand. Wisconsin 53558 Treasurer 5. I am concerned that in our efforts to gratify our egos, to stay within Karen Haines our comfortable group, we accomplish a kind of artistic incest that will cripple musi­ D. C. Everest High School 6500 Alderson Street cal grO\\'th. Schofield. Wisconsin 54476 6. I am concerned. Are you? Editorial Board

Chairman Louis H. Diercks Sincerely, Route #2, Box 29 West Finley, Pennsylvania 15377 Members Morris J. Beachy ·Maurice T. Casey Richard G. Cox John' B. Haberlen Helen M. Hosmer Gordon H. Lamb Frank Pooler Harriet R. Simons Eva Mae Struckmeyer David A. Watkins Lynn Whitten

4 THE CHORAL JOURNAL In addition to the customary psalm tunes, An Farly Amorit!an Altornafivo to tho the tunebooks included canons, anthems, set-pieces, and fuging tunes. An emula­ tion of foreign standards of taste was embodied in this gradually shifting em­ Traditional Flizahothan Madrigal Dinnor phasis away from improved congrega­ tional psalm singing toward performance JOHN J. SILANTIEN A sample format, for the dinner with by singing-school scholars of more diffi­ suggested vocal and instrumental reper­ cult literature. The tunes of English paro­ toire will be included. Preliminary to the chial composers such as Joseph Stephen­ The author holds B. Mus. Ed. and M. M. proposal itself, a brief general account son, William Knapp, William Tans'ur, degrees from Hartt College of Music of of pertinent musical and social develop­ and Aaron Williams dominated many col­ the University of Hartford, West Hart­ ments in America from 1700 to 1800 lections and provided the model upon ford, Connecticut, and Catholic Univer­ which American singing-masters such as sity, Washington, D.C., respectively. He will be presented. has performed with the U. S. Army Band William Billings, Daniel Read, Jacob and taught on the secondary and college MUSIC IN EIGHTEENTH French, and Oliver Holden built their levels in the Washington, D.C. area. He CENTURY AMERICA musical vocabulary. is presently a D.M.A.candidate in choral As a result of the increased choral music at the University of Illinois, Ur­ During the eighteenth century in Amer­ bana, Illinois, and director of the Uni­ ica. a burgeoning urban culture developed. orientation, approximately fifty - five versity of Illionis Madrigal Singers. The four principal cities which arose church choirs were formed in New Eng­ reported the following populations in land between 1760 and 1800. The newly­ 1786: Philadelphia, 32,200; New York, formed church choirs sang not only on Each year many madrigal groups in 24,500; Boston, 14,164; and Charleston, Sundays, but for public holiday observ­ the United States re-enact the elaborate 10.780. The social history of that develop­ ances as well. One group even provided Christmas celebrations which occurred at ment was generally characterized by an music at a spinning" bee in 1788. The the English court of Elizabeth 1. The ever-increasing concern with the latest convivial function of their singing is offerings often include Elizabethan vocal, fashions, news, arrivals, and tastes of attested to by an early village choir instrumental, and dance music, as well European culture. member: "When passing an evening with as period ,costume and dinner fare. How­ Likewise. the period 1720-1800 in the a few musical friends, ... we preferred ever, might not a setting other than the history of American music was a time extracting an hour of rational pleasure usual Elizabethan format be employed to of intensely accelerated development aim­ from The Village Harmony to the frivol­ vary the musical and theatrical offerings ed at emulating European standards of ous entertainments of cards, coquetry, and of the traditional Christmas madrigal taste. Immigration of foreign musicians scandal."(l) In 1788 John Quincy Adams dinner? Our American heritage, for ex­ increased along with native demand for described a favorite social diversion: "We ample, might provide the ingredients for musical instruments. The singing-school spent our time in sociable chat and in an attractive presentation. movement began in order to effect im­ singing; not such unmeaning, insignifi­ The American colonists celebrated provement in church music and to eli­ cant songs as those with which we killed Christmas in even their earliest settle­ minate the musically naive practice of our time last evening, but good, jovial, ments. Despite a 1659 Puritan law for­ lining-out the psalms. A young music expressive songs such as we sang at bidding any special observation of Christ­ trade consisting of engravers, publishers, College, when mirth and jollity prevail'd.' mas day, much evidence exists to prove instrument makers, and music dealers One evening of this kind gives me more that even in early New England there was budding. Early, tentative efforts at real satisfaction than .fifty pass'd in a was an unbroken tradition of religious, presentation of foreign operas and public company of girls. (I beg their par­ social, and festive Christmas celebrations. concerts blossomed into full seasons and don.)"(2) The Anglican planters in Virginia, the subscription concerts by 1800. The singing-schools themselves served Dutch in New York, the Germans in Sacred music dominated musical de­ a recreational as much as a religious western Pennsylvania, and the French in velopment in the Northern center of purpose. They functioned in a social as Louisiana all maintained the Christmas Boston while a mainly secular musical much as in a musical capacity. Classes traditions of their homelands. After the culture developed at the opposite end of often met in taverns, and, after the sing­ Revolution, Philadelphia's central location the colonies in Charleston. Philadelphia ing session, the singing-master sometimes provided a melting pot for the various was a meeting-place for both Southern provided music for dancing. During an regional customs from around the coun­ and Northern elements. It was, there­ intermission from singing, many scholars try. As the nation's first capitol, Phila­ fore, musically the heir to both the New escaped for a sleigh ride not to return; delphia became the meeting-place for England singing-school tradition and the some adjourned to the bar to dear the statesmen, diplomats, and the latest de­ concert life which flourished in the velopments in fashionable entertainment. Southern cities. The synthesis of those The following study will therefore different emphases made Philadelphia the Ie HORA L-AIDE RE CORDS I consist of an argument for the appro­ principal center of musical activity in the priateness and feasibility of an early later half of the eighteenth century. Separate records (one each for S,A, T, and Bl American alternative to the traditional Boston. of the l\IESSIAH choruses only Inade so that your part (depending on which record you are Elizabethan Christmas dinner setting. Boston was the hub of musical de­ using) is louder than the other parts and the Specifically, a proposal for a dinner at velopment in New England during the accompaniment. Fine soloists in compatible the house of Benjamin Franklin in Phila­ eighteenth century. The singing-school stereo to help choral singers learn notes, delphia around 1789 will be presented. movement, initiated in the 1720's to rhythms, and entrances. .Moderate tempos. The proposal will deal with the following improve the congregational singing of $7.95 per record or 830.95 for a set of four. Order from your dealer or directly from the areas: Franklin's appropriateness as din­ psalms, brought about far-reaching re­ ner host; late eighteenth century dress, sults. American tunebooks compiled for MARK FOSTER MUSIC CO. holiday dinner fare, and dance; and the the use of singing-schools, came to in­ Box 4012, Champaign IL 61820 music to be offered during the evening. clude an increasingly difficult repertoire.

OCTOBER 1976 & ALTERNATIVE ... years of the century. Selby's importance England. One concert in 1767 was fol­ reflects the increased receptivity to Euro­ lowed not only by the usual ball but cobwebs from their throats; others en­ pean standards of taste which existed in also by a "patomime entertainment." This gaged in dancing, romping, loud laugh­ a many-faceted Boston musical culture. new phenomenon was part of a trend ing, or merry songs. The native-born singing-master deferred toward unusual additions to the evening's Although the sacred and convivial mu­ leadership to the foreign-born "Professor" musical presentation. A concert in 1773 sic fostered by the singing-schools pre­ of music. included a magician who offered to "let dominated in New England, Boston also Charleston any number of ladies and gentlemen think possessed a public concert life dating The activities of Flagg and Selby in of as many cards as they please, and from the first advertised concert on De­ Boston were surpassed by the thriving the same will be found in a roasted leg cember 30, 1731. and culminating with concert life and social entertainments of­ of mutton, hot from the fires, which will the foundation of the Handel and Haydn fered at Charleston in the South. The be placed on the table." (4) Another even­ Society in 1815. After the early musical first recorded public concert of vocal and ing featured an elaborate dance exhibi­ leadership of native-born Josiah Flagg, instrumental music in Charleston occurred tion after the concert, the whole con­ William Selby, a London emigrant, as­ in April of 1732. In February, 1733, the cluding with "manly feats of activity by sumed prominence during the last thirty first song recital in America was pre­ Mr. M. Sully." (5) Patrons of garden sented at Charleston. (3) concerts had food, drink and even fire­ Charleston was not hampered by the works with their music. ban on theatrical entertainments imposed By the last decades of the century, by the Puritans and Quakers in the Charleston enjoyed a cosmopolitan musi­ North. Two ballad operas produced in cal life which included English, Italian, Charleston - Flora, 1735; and The Devil and French operas performed by the to Pa)', 1736 - antedate even the 1750 many touring companies of French im­ appearance in this country of John Gay's migrants who came to America following very popular and influential Beggar's the French Revolution. In addition, the Opera. The ballad opera as a genre orchestral and chamber music of Haydn, satirized the fashionable Italian opera of Gluck, Martini, Pleyel, and Stamitz was the first quarter of the eighteenth cen­ often performed by ensemble comparable tury and was immensely popular in Eng­ in size to most in Europe: "Besides the land and, consequently. in America. Airs vocal parts . . . 1 organ, 12 violins, 3 taken from Gay's opera and others like basses, 5 tenors, 6 oboes, flutes, and it were much performed and met with clarinets, 2 horns, 1 bassoon, and 2 pair great popular success on both sides of the kettle drums, in all 30." (6) Thus, Char­ Atlantic. leston, which represented a highly de­ The absence of Puritan influence in veloped, aristocratic culture, had evolved the South also contributed to the great the necessary social and musical environ­ popularity of social dancing. The 1732 ment to support secular entertainments concert mentioned above was followed on a European scale. by a ball, and dancing. subsequently came Philadelphia. to be an indispensable post-concert fea­ Philadelphia's location in the middle ture. colonies provided a logical meeting-place In addition to an active public concert for diverse cultural influences. Prior to William Walton life. opera, and balls, Charleston possessed the Revolution, the leading figure in whose 75th birthday will be a large number of gentlemen-amateur Philadelphia's musical synthesis of those celebrated on 29 March 1977. musicians who united in 1762 to form the influences was Francis Hopkinson. In St. Cecilia Society, the oldest musical 1757. he helped engineer an important Do you know society in America. Membership in this collegiate production of Arne's Masque BELSHAZZAR'S FEAST exclusive club required an invitation, and of Alfred. He composed the first secular CANTICO DEL SOLE the activities of the club's members in song by a native American in 1759. As CORONATION TE DEUM public and private performance formed a performer, he played harpsichord in the GLORIA the center of Charleston's musical life musical soirees held every Sunday even­ IN HONOUR OF THE CITY OF LONDON well into the nineteenth century. In ing at Lt. Governor John Penn's house MISSA BREVIS Charleston, as in all major cities through­ and occupied the leading position of or­ THE TWELVE out the colonies, professional musicians ganist at Christ Church. Along with his We will be glad to send copies on frequently performed side by side with teacher, James Bremmer, he managed examination, along with a brief but American gentlemen-amateurs. In June, the earliest subscription concerts in Phil­ complete listing of Walton's Choral Music. 1771, the Society advertised in newspa­ adelphia in 1764. In 1781 he wrote and Walton's music for choruses is sung pers as far distant as New York, Phila­ presented before George Washington and wherever there are good singers and high standards. Since his early training delphia, and Boston for qualified profes­ the French minister the Temple of at the Christ Church Cathedral Choir sional musicans to play for their concert Minenm, an oratorio in praise of Amer­ School at Oxford, Sir William has given season. In the best European tradition, ica's alliance with France. His "Seven to voices the honor and respect they concerts were always arranged in a Songs for Voice and Harpsichord" of deserve. "genteel manner" for the "most delicate" 1788 were dedicated to Washington. Share your plans with us - or let us persons taking care to prevent any "dis­ help you .to formulate them - in Hopkinson both nourished and was celebrating Walton's 75th birthday. order and irregularity." nourished by Philadelphia's thriving mu­ Continuing in emulation of European sical environment. As early as 1739, ~ IIIIIIilIIIIIIIIIilIII_f Music Department trends, a summer series of "Vauxhall­ Benjamin Franklin carried Corelli's sona­ OXFORD UNIVERSITY PRESS, INC. type" concerts began in 1767. These fol­ tas and Geminiani's concertos in stock 200 MADISON AVENUE, NEW YORK, N.Y. 10016 lowed the success of similar events in at his printing office. From the first ap-

6 THE CHORAL dOURNAL pearance of the Kean-Murray Old Ameri­ instrumental music, Andrew Adgate,an as publisher, composer, performer, and can Opera Company in 1749,Philadelphia English immigrant, was nurturing a opera entrepeneur, along with Taylor's music lovers supported annual ballad movement which would give choral music prominence as organist, composer, and opera seasons. The city also supported an increased prominence. In 1784 Adgate touring professional, gave them almost thirty or more music teachers for the formed the Institute for the Encourage­ total control over Philadelphia's musical education of an avid population of gentle­ ment of Church Music. Renamed the destiny by 1800. In addition, the era of men-amateurs. Those amateur devotees Free School for Spreading the Knowledge the virtuoso performer and the child formed a private music club under the of Vocal Music in 1785, the organization prodigy arrived to further titillate the leadership of Tench Francis. finally became known in 1787 as the Americans' penchant for novelty. The That the large amount of musical acti­ Uranian Academy. Adgate's efforts at way had been long and well prepared vity at Philadelphia was carried on with providing free vocal instruction and pre­ for the nineteenth-century "better music" the full complement of instrumental pos­ senting monthly choral concerts were movement. sibilities available to Europeans is sub­ supported by such important personalities A CHRISTlVIAS DINNER stantiated by a listing of participants in as Benjamin Rush and Francis Hopkin­ PROPOSAL a 1770 concert managed by John Gualdo, son.(9) From 1783 until his death in In light of the convergence in Phila­ an amateur performer-composer-wine 1793, Adgate's vocal concerts provided a delphia of sacred and secular musical in­ merchant: violins. German flutes, french counterbalance to the earlier instrumen­ fluences found in Boston and Charleston, horns, clarinet, hautboys ( oboes), bas­ tally oriented concerts. of American and European musicians and soon, harpsichord, and mandolin. On a An important event occurred with the composers, of gentelmen-amateurs and concert given in 1771. a "full Band of presentation of the following repertoire professionals, of a variety of vocal and Music" was employed with trumpets, at a Uranian Academy concert on April instrumental literature, and of music for kettle drums and "every instrument that 12. 1787: anthems by William Tuckey, the church, home, concert hall and ball­ can be introduced with propriety."(7) As Samuel Arnold, Aaron Williams, William room, that city provides an ideal setting in Charleston, these concerts and others Billings, and James Lyon; overtures by for the staging of an early American were followed by social dancing. Giovanni Martini and Thomas Arne; Christmas dinner. A socially prominent Philadephian de­ concertos for both flute and violin; and The year 1789 affords an ideal time scribed the social and musical gaiety of Handel's '"Hallelujah Chorus" from j1v1 es­ frame. The Constitutional Convention had a Philadelphia Christmas season follow­ siah.(19) Although the mixture of Euro­ already met, and the United States had ing the British occupation of 1777-78: pean and American elements is typical elected its first president. Philadelphia "Yesterday, a Christmas dinner in com­ of the time, the ambitiousness of the would become the nation's capitol in the pliment to the Washingtons at the Che­ repertoire was almost unprecedented. The following year, and already in residence valiers. Next Thursday, he gives a ball cultivation of choral music in America there were prominent statesmen who to thirty ladies; tomorrow. another at had progressed far indeed from the first would guide the nation in its early years. Mrs. Holkers. His Excellency intends feeble attempt at teaching psalmody in Benjamin Franklin had attended the having concerts once a week at his house. the early New England singing schools. Convention daily. He was a familiar and he entertaining generally with elegance. During the last decades of the eight­ well-liked personality who no doubt often ... Last Thursday the assemblies com­ eenth century, two additional European served as a witty and congenial host at menced. and there are private dances. musicians arrived in Philadelphia - Ben­ holidav celebrations. Dr. Franklin's keen once a week."(8) jamin Carr and Raynor Taylor. The under~tanding and active involvement in The continuing American quest for cul­ movement already begun toward the musical matters must have made enter­ tural equality with Europe was fueled adoption of European musical standards tainment a focal point of parties held by an influx of European musicians. Vo.'as accelerated. Carr's eventual position at his '"Mansion House." Professional immigrants performed for many years alongside Philadelphia's gentlemen-amateurs. However, beginning with the arrival of Alexander Reinagle in 1786, the professional musicians so Jeffrey Haskell. ... on the profoundly influenced musical taste that by the close of the eighteenth century TUCSON ARIZONA BOYS the day of the gentleman-amateur had CHORUS CHORAL SERIES passed. Reinagle came to America from Lon­ by Nuove Music, Inc. don, well acquainted personally with ]. C. and C. P. E. Bach. He immediately took III am particularly proud to be control of the city's musical affairs by associated with the fine people at instituting a new subscription series of Nuove Music, Incorporated. Their concerts. The series, which continued through 1788, included the works of decision to bring forth this weI/- European masters with the same fre­ planned music is one which wil/ be quency as those of Reinagle himself. He warmly applauded by conductors, adopted the readily accepted practice of programming both famous and lesser­ singers, and audiences known works side by side. George Wash­ See ad in ington was so attracted by the prominence of Reinagle's reputation that he engaged him to teach his step-grandaughter Nelly Custis to play the harpsichord. At about the same time that Reinagle was fostering an emulation of European

OCTOBER 1976 ALTERNATIVE ... years of the century. Selby's importance England. One concert in 1767 was fol­ reflects the increased receptivity to Euro­ lowed not only by the usual ball but cobwebs from their throats; others en­ pean standards of taste which existed in also by a "patomime entertainment." This gaged in dancing, romping, loud laugh­ a many-faceted Boston musical culture. new phenomenon was part of a trend ing, or merry songs. The native-born singing-master deferred toward unusual additions to the evening's Although the sacred and convivial mu­ leadership to the foreign-born "Professor" musical presentation. A concert in 1773 sic fostered by the singing-schools pre­ of music. included a magician who offered to "let dominated in New England, Boston also Charleston any number of ladies and gentlemen think possessed a public concert life dating The activities of Flagg and Selby in of as many cards as they please, and from the first advertised concert on De­ Boston were surpassed by the thriving the same wiII be found in a roasted leg cember 30, 1731. and culminating with concert life and social entertainments of­ of mutton, hot from the fires, which will the foundation of the Handel and Haydn fered at Charleston in the South. The be placed on the table." (4) Another even­ Society in 1815. After the early musical first recorded public concert of vocal and ing featured an elaborate dance exhibi­ leadership of native-born Josiah Flagg, instrumental music in Charleston occurred tion after the concert, the whole con­ William Selby, a London emigrant, as­ in April of 1732. In February, 1733, the cluding with "manly feats of activity by sumed prominence during the last thirty first song recital in America was pre­ Mr. M. Sully."(5) Patrons of garden sented at Charleston. (3) concerts had food, drink and even fire­ Charleston was not hampered by the works with their music. ban on theatrical entertainments imposed By the last decades of the century, by the Puritans and Quakers in the Charleston enjoyed a cosmopolitan musi­ North. Two ballad operas produced in cal life which included English, Italian, Charleston - Flora, 1735; and The Devil and French operas performed by the to Pay, 1736 - antedate even the 1750 many touring companies of French im­ appearance in this country of John Gay's migrants who came to America following very popular and influential Beggar's the French Revolution. In addition, the Opera. The ballad opera as a genre orchestral and chamber music of Haydn, satirized the fashionable Italian opera of Gluck, Martini, Pleyel, and Stamitz was the first quarter of the eighteenth cen­ often performed by ensemble comparable tury and was immensely popular in Eng­ in size to most in Europe: "Besides the land and, consequently. in America. Airs vocal parts . . . 1 organ, 12 violins, 3 taken from Gay's opera and others like basses, 5 tenors, 6 oboes, flutes, and it were much performed and met with clarinets, 2 horns, 1 bassoon, and 2 pair great popular success on both sides of the kettle drums, in all 30." (6) Thus, Char­ Atlantic. leston, which represented a highly de­ The absence of Puritan influence in veloped, aristocratic culture, had evolved the South also contributed to the great the necessary social and musical environ­ popularity of social dancing. The 1732 ment to support secular entertainments concert mentioned above was followed on a European scale. by a ball, and dancing subsequently came Philadelphia to be an indispensable post-concert fea­ Philadelphia's location in the middle ture. colonies provided a logical meeting-place In addition to an active public concert for diverse cultural influences. Prior to William Walton life. opera, and balls, Charleston possessed the Revolution, the leading figure in whose 75th birthday will be a large number of gentlemen-amateur Philadelphia's musical synthesis of those celebrated on 29 March 1977. musicians who united in 1762 to form the influences was Francis Hopkinson. In St. Cecilia Society, the oldest musical 1757. he helped engineer an important Do you know society in America. Membership in this collegiate production of Arne's Masque BELSHAZZAR'S FEAST exclusive club required an invitation, and of Alfred. He composed the first secular CANTICO DEL SOLE the activities of the club's members in song by a native American in 1759. As CORONATION TE DEUM public and private performance formed a performer, he played harpsichord in the GLORIA the center of Charleston's musical life musical soirees held every Sunday even­ IN HONOUR OF THE CITY OF LONDON well into the nineteenth century. In ing at Lt. Governor John Penn's house MISSA BREVIS Charleston, as in all major cities through­ and occupied the leading position of or­ THE TWELVE out the colonies, professional musicians ganist at Christ Church. Along with his We will be glad to send copies on frequently performed side by side with teacher, James Bremmer, he managed examination, along with a brief but American gentlemen-amateurs. In June, the earliest subscription concerts in Phil­ complete listing of Walton's Choral Music. 1771, the Society advertised in newspa­ adelphia in 1764. In 1781 he wrote and Walton's music for choruses is sung pers as far distant as New York, Phila­ presented before George Washington and wherever there are good singers and high standards. Since his early training delphia, and Boston for qualified profes­ the French minister the Te11l,ple of at the Christ Church Cathedral Choir sional musicans to play for their concert Minerva, an oratorio in praise of Amer­ School at Oxford, Sir William has given season. In the best European tradition, ica's alliance with France. His "Seven to voices the honor and respect they concerts were always arranged in a Songs for Voice and Harpsichord" of deserve. "genteel manner" for the "most delicate" 1788 were dedicated to Washington. Share your plans with us - or let us persons taking care to prevent any "dis­ help you. to formulate them - in Hopkinson both nourished and was celebrating Walton's 75th birthday. order and irregularity." nourished by Philadelphia's thriving mu­ Continuing in emulation of European sical environment. As early as 1739, ..-...... IIIIIIIIIIIIIII_' Music Department trends, a summer series of "Vauxhall­ Benjamin Franklin carried Corelli's sona­ OXFORD UNIVERSITY PRESS, INC. type" concerts began in 1767. These fol­ tas and Geminiani's concertos in stock 200 MADISON AVENUE, NEW YORK, N.Y. 10016 lowed the success of similar events in at his printing office. From the first ap-

6 THE CHORAL JOURNAL pearance of the Kean-Murray Old Ameri­ instrumental music, Andrew Adgate,an as publisher, composer, performer, and can Opera Company in 1749, Philadelphia English immigrant, was nurturing a opera entrepeneur, along with Taylor's music lovers supported annual ballad movement which would give choral music prominence as organist, composer, and opera seasons. The city also supported an increased prominence. In 1784 Adgate touring professional, gave them almost thirty or more music teachers for the formed the Institute for the Encourage­ total control over Philadelphia's musical education of an avid population of gentle­ ment of Church Music. Renamed the destiny by 1800. In addition, the era of men-amateurs. Those amateur devotees Free School for Spreading the Knowledge the virtuoso performer and the child formed a private music club under the of Vocal Music in 1785. the organization prodigy arrived to further titillate the leadership of Tench Francis. finally became known in 1787 as the Americans' penchant for novelty. The That the large amount of musical acti­ Uranian Academy. Adgate's efforts at way had been long and well prepared vity at Philadelphia was carried on with providing free vocal instruction and pre­ for the nineteenth-century "better music" the full complement of instrumental pos­ senting monthly choral concerts were movement. sibilities available to Europeans is sub­ supported by such important personalities A CHRISTNfAS DINNER stantiated by a listing of participants in as Benjamin Rush and Francis Hopkin­ PROPOSAL a 1770 concert managed by ] ohn Gualdo, son.(9) From 1783 until his death in In light of the convergence in Phila­ an amateur performer-composer-wine 1793. Adgate's vocal concerts provided a delphia of sacred and secular musical in­ merchant: violins. German flutes. french counterbalance to the earlier instrumen­ fluences found in Boston and Charleston, horns, clarinet, hautboys ( oboes). bas­ tally oriented concerts. of American and European musicians and soon, harpsichord, and mandolin. On a An important event occurred with the composers. of gentelmen-amateurs and concert given in 1771. a "full Band of presentation of the following repertoire professionals, of a variety of vocal and Music" was employed with trumpets, at a Uranian Academy concert on April instrumental literature, and of music for kettle drums and "every instrument that 12. 1787: anthems by William Tuckey, the church. home, concert hall and ball­ can be introduced with propriety."(7) As Samuel Arnold, Aaron Williams, William room, that city provides an ideal setting in Charleston, these concerts and others Billings, and James Lyon; overtures by for the staging of an early American were followed by social dancing. Giovanni Martini and Thomas Arne; Christmas dinner. A socially prominent Philadephian de­ concertos for both flute and violin; and The year 1789 affords an ideal time scribed the social and musical gaiety of Handel's "Hallelujah Chorus" from iVes­ frame. The Constitutional Convention had a Philadelphia Christmas season follow­ siah. (19) Although the mixture of Euro­ already met, and the United States had ing the British occupation of 1777-78: pean and American elements is typical elected its first president. Philadelphia ·'Yesterdav. a Christmas dinner in com­ of the time, the ambitiousness of the would become the nation's capitol in the pliment t; the Washingtons at the Che­ repertoire was almost unprecedented. The following year, and already in residence valiers. Next Thursday, he gives a ball cultivation of choral music in America there were prominent statesmen who to thirty ladies; tomorrow, another at had progressed far indeed from the first would guide the nation in its early years. Mrs. Holkers. His Excellency intends feeble attempt at teaching psalmody in Benjamin Franklin had attended the having concerts once a week at his house. the early New England singing schools. Convention daily. He was a familiar and he entertaining generally with elegance. During the last decades of the eight­ well-liked personality who no doubt often ... Last Thursday the assemblies com­ eenth century, two additional European served as a witty and congenial host at menced. and there are private dances, musicians arrived in Philadelphia - Ben­ holidav celebrations. Dr. Franklin's keen once a \veek." (8) jamin Carr and Raynor Taylor. The under~tanding and active involvement in The continuing American quest for cul­ movement already begun toward the musical matters must have made enter­ tural equality with Europe was fueled adoption of European musical standards tainment a focal point of parties held by an influx of European musicians. was accelerated. Carr's eventual position at his "Mansion House." Professional immigrants performed for many years alongside Philadelphia's gentlemen-amateurs. However, beginning with the arrival of Alexander Reinagle in 1786, the professional musicians so Jeffrey HaskelL ... on the profoundly influenced musical taste that by the close of the eighteenth century TUCSON ARIZONA BOYS the day of the gentleman-amateur had CHORUS CHORAL SERIES passed. Reinagle came to America from Lon­ by Nuove Music, Inc. don, well acquainted personally with ]. C. and C. P. E. Bach. He immediately took III am particularly proud to be control of the city's musical affairs by associated with the fine people at instituting a new subscription series of Nuove Music, Incorporated. Their concerts. The series, which continued through 1788, included the works of decision to bring forth this weI/- European masters with the same fre­ planned music is one which wil/ be quency as those of Reinagle himself. He warmly applauded by conductors, adopted the readily accepted practice of programming both famous and lesser­ singers, and audiences everywhere!" known works side by side. George Wash­ See ad in this magazine ington was so attracted by the prominence of Reinagle's reputation that he engaged him to teach his step-grandaughter Nelly Custis to play the harpsichord. At about the same time that Reinagle was fostering an emulation of European

OCTOBER 1976 7 ALTERNATIVE ... soundly-constructed song melody with a chiefs, and jewelry - particularly brace­ musical insight surpassing that of the lets- were proper ladies' accessories. In short, a Christmas evening filled casual amateur. He complained that the The men carried snuff boxes. At first with important gues-ts, seasonal toasts, modern taste in song seemed unnatural, wigs were used by both men and women: bounteous eating, singing, playing, joke­ that the pleasure gained from modern to make hair more abundant, but later, telling, and dancing must have often oc­ music was not that of pleasing melody natural hair was powdered to appear like curred at Franklin's house and might be or harmony but was similar to the "plea­ wigs. During the late eighteenth century, recreated in much the same spirit as sure we feel on seeing the surprising both conventions existed simultaneously. those Elizabethan festivities which are feats of tumblers and rope dancers, who The colonial aristocrat could cut as re­ traditionally re-enacted at madrigal din­ execute difficult things." (13) In 1765 he splendent a figure as his financial means. ners each year. "It was indeed a very critically analyzed an excerpt from Han­ and his love of dress dictated. (17) social age. Anything served as a pretext del's Judas Maccabaeus and found it Food for the assembling together of men for deficient in many particulars of sound Colonial eating and drinking habits conversation, jollity, and good cheer. No composition. He complained that "though were often equally resplendent. Especially man enjoyed these jovial gatherings more the words might be the principal part in the Middle Colonies, the tables of the heartily than Franklin."(11) of ancient song, they are of small im­ opulent rivaled the extravagance of Eng­ Host portance in a modern one. They are, in lish and French houses of wealth. In Although Franklin's literary and scien­ short, only a pretence for singing. If 1787 at the home of a prominent New tific pursuits have been well-chronicled, ever it was the ambition of musicians York military figure, fifteen kinds of his avid interest and active participation to make instruments that should imitate wine were provided besides cider and in musical matters have been relatively the human voice, that ambition seems beer. Despite the moderation preached ignored. The commonly held belief that now reversed, the voice aiming to be like by various religious sects and the vege­ Franklin's main manifestation of interest an instrument. Thus, wigs were first tarian preferences of .some men like in music involved his invention of the made to imitate a good natural head of Franklin, hearty and bounteous fare was musical glasses, or Armonica, is false. hair; but when they became fashionable, enjoyed by many colonials. John Adams, In fact, he himself attributed the inven­ though in unnatural forms. we have seen treated to a luxuriant meal at the home tion of that instrument to an Irishman. natural hair dressed to look like of a Quaker lawyer in Philadelphia, re­ Mr. Puckeridge. Franklin's role consisted wigs."(14) marked that "this plain Friend, and his in improving the physical disposition of But while he admired the older musical plain though pretty wife, with her Thees the glasses so as to permit a greater practice and criticized modern taste, he and Thous, had provided us the most number of tones to be available within was optimistic about the budding first costly entertainment; ducks, hams, chick­ easy reach of the player's hand. generation of American artists and com­ ens, beef, pig, tarts, creams, custards, In addition to playing on his improved posers. "After the first cares of the jellies, fools, trifles, floating islands, beer, Armonica, Franklin also could perform necessaries of life are over, we shall porter, punch, wine, etc." ( 18) come to think of the embellishments. on the harp and guitar. He must have Native-made New England rum was Already some of our young geniuses be­ frequently accompanied his own singing served at all f~stivities. Cider and ale gin to lisp attempts at painting. poetry, on one of those instruments. He was were plentiful and often provided free to and music." (15) particularly fond of Scotch songs and travellers at many farm houses. In Phila­ "always ready to do his part with jest. Dress delphia during the Revolution, intoxicants anecdote, and song" at the social gather­ The costume of American society dur­ consumed in large amounts contributed ings he frequently attended. (12) He ing the latter half of the eighteenth to a life of riot. One officer, apologizing wrote at least four different sets of bal­ century provided an elegant and colorful to a friend for having been negligent in lad lyrics which, as was then the com­ display at Christmastime. After the Re­ his correspondence, remarked that "had mon practice, were sung to one or an­ volution, Americans ardently desired to there been any half hour since I came, other of the many popular airs of the demonstrate to the world - and particu­ that I could safely say I was sober, I time. larly to the French - that their newly­ do assure you that I would have appro­ Franklin grasped the subtleties of a won country was not composed of crude priated that time to you; but so far from backwoodsmen. Their desire to emulate that, the fumes of the past evening are European taste naturally encompassed never out of my head before the next current fashions in clothing: "A love of day's dinner." (19) dress ran riot in the new nation."(16) Evidence shows that President Wash­ Frugal men like Franklin strongly cri­ ington dined in the company of the vice­ ticized such extravagance. Yet even president, the senators, and other members Franklin was not immune to the preva­ of Congress at a 1795 Philadelphia lent love of luxurious clothing and adorn­ Christmas dinner on an elegant variety ments. When his house was burglarized of roast beef, veal, turkeys, ducks, fowls, in 1750, valuable and fashionable items hams, puddings, jellies, oranges, apples, such as a double necklace of gold beads nuts, almonds, figs, raisins, and a variety and a long scarlet cloak were taken. of wines and punch. Martha Washington's The -preferred materials generally used recipe for "Great Cake," which she served for garments were silks, satins, and vel­ frequently at Mount Vernon during the vets. The costume generally combined Christmas season, called for forty eggs, two or three colors with much brocade, four pounds of butter, four pounds of embroidered silk, and gold lace trim on sugar, five pounds of flour, five pounds main clothing articles. Fur skins were of fruit, one-half ounce of mace, one found on hats, cloaks, and muffs. W o­ nutmeg, half a pint of wine, and some men's shoes were of silk and men's of French brandy. In 1783, after a sumptu­ leather, in both cases colored to match ous and satisfying Christmas dinner prob­ the other items of dress. Fans, handker- ably concluded with a generous serving

8 THE CHORAL JOURNAL of "Great Cake" in the warm, country evidence of American activity in carol­ the height of optlnllSm concerning the atmosphere of Mount Vernon, George type writing is found in some of the future of the new country. Washington offered his famous three­ early tunebooks. For example, the Sing­ A sample format for the re-enactment word toast, "All our friends." ing Masters Assistant of 1778 contained of such a Philadelphia Christmas cele­ Dance Billing's carol "A Virgin Unspotted". bration follows. The outline presented Dancing was by far the most popular But it is reasonable to assume that provides a skeleton which the creative social diversion in colonial America. The convivial and sacred music other than director and ensemble should supplement youngsters of genteel families received carols would have been sung at a 1789 with a detailed script. several years of formal training either Christmas dinner. The tunebook reper­ at a large-city dancing school or from toire of both English and American itinerant dancing masters. Many singing­ compilers included much appropriate sea­ masters also adopted the role of dance sonal music - anthems, set-pieces, and instructor. fuging tunes. The ballad opera airs of In addition to the requisite post-con­ Gay and others were often performed at cert balls, social dancing was also in­ social gatherings apart from the theatre. cluded at the more exclusive private The concert hall programs which included gatherings given by colonial aristocrats. pieces by Europeans, immigrated profes­ 01] At private entertainments, the most fa­ sionals, and later eighteenth-century shionable Continental and English dances native-born Americans provided an addi­ AND AGAPE were executed. Accompaniments some­ tional body of literature which was used MEET and the results are times consisted of only a single violin; at social entertainments. on other occasions, two fiddles, a french At a typical eighteenth-century aristo­ horn, and drum sufficed; but often, dance cratic dinner party, instrumental music ~Q~~eWI music was supplied by the dozen or so played before the start of the dinner, musicians needed to perform the overtures during the meal, and as an accompaniment and concerti grossi presented during the to the dancing would have been drawn concert portion of the evening. from the works of eighteenth century In the late 1740's, dancing assemblies masters such as Corelli, Stamitz, Abel, Haydn, and others. The solo and ensemble rl were instituted for the social diversion of an elite clique of prominent persons music of Hopkinson, Reinagle, Gualdo, Carr. and others living in America was NOW AT YOUR LOCAL MUSIC STORE or associated by socio-economic status. At Write direct for Free sample copies. these assemblies, all were expected to also available. Even Franklin's string possess competence in the standard Euro­ quartet, presumably composed while he HH3900 A Christmas Antiphonal pean repertoire of social dances: minuets. was in Paris, might have been performed. SATB & Handbells 3 Oc gavottes, allemandes, marches. bourees. Thus, a typical Christmas dinner in HH3901 Antiphonal Psalm 35 c gigues, passepieds, hornpipes. quadrilles, early Philadelphia must have been a color­ Two Choirs rigaudons, and English country dances. ful. convivial. and entertaining occasion. HH3902 Collage of Praise 40c The minuet prevailed throughout the The aristocrats' dress would have been Four Antiphonal Ensembles eighteenth century as the most necessary fashionably resplendent; a sumptuous ar­ HH3903 Dona Nobis Pacem 4 Oc genteel accomplishment. Minuets opened ray of food and drink would have been SAB most dances after the formally addressed served; the latest continental and English HH3904 I Was Glad 40c bow and curtsy. Washington was often dances would have been executed; music Unison or Two Parts complimented on his expert performance of popular European and American com­ HH3905 Prayer of lhankful Praise of the minuet. Marches were interspersed posers would have been performed; and, SSATTBB 40c amongst the remaining types of couple most importantly, the evening would have Q6ape Dept. HH Carol Stream, dances, and the evening most often con­ been filled with the urbane and witty Il~' Illinois 60187 cluded with group dancing of country conversation of statesmen and patriots at dances which were danced in two long lines and involved all participants. The ever-increasing popularity of country dances was indicative of a gradual dis­ ~~ placement of the older aristocratic ideals. Michael Kysar - Publisher (20) Iin;c;~~ Carols and Other Music Vocal Jazz Since in early colonial days Christmas One-day clinics on techniques, materials, published was celebrated in accordance with the music and ideas, for teachers and students. Watch customs of the country from which each for more information about a clinic in your area. group of settlers came, the standard reper­ toire of early English and Continental carols was transplanted and sung in Vocal Jazz Clinician~ Auaifable: Michael K~sar America. Newly-composed eighteenth­ Daue Cross, Ken Kraintz g Frank DeMiero, century melodies from Europe were also imported. Although composition of most Ameri­ VOCAL JAZZ CELEBRATION STEREO RECORD can carols awaited the nineteenth century, Six Northwest college & high school groups recorded as early as 1641, a missionary near in-concert. $6.00 plus 50¢ Postage & Handling. Quebec set a Huron Indian text to a traditional French melody creating the SOLE SelLING AGENT HINSHAW MUSIC. Inc. Box 470 Chapel Hill, NC 275 i 4 carol "]esous Ahatonia." Further early

OCTOBER 1976 F. J. Haydn--"Quartet in E, Op. 2, No.2;" guitar, violin, viola, cello; Adagio.

Setting: The Philadelphia home of Benjamin Franklin, December 25, 1789. --Announcement of special selection--Benjamin Franklin-­ "Quartet;" 3 violins, cello; Allegro., Henuetto; Cap­ Drama tis Personae: riccio, Menuetto, Siciliano.

Benjamin Franklin and domestic servants Arcangelo' Corelli--"Concerto Grosso, Op. 6, No.8, fatto John and Abigail Adams "er la notte di natale;" strings; Vivace, Adagio-Allegro­ Alexander and Elizabeth Hamilton Adagio, Vivace-Allegro-Pastorale. John Hancock Patrick and Dorothea Henry --Flaming pudding dessert. Chief Justice John and Sarah Jay Music: Traditional--"Flaming Pudding Carol," SATB chorus. Thomas Jefferson S~: Hanuscript oct"vo at University of Illinois, choral John Paul Jones -- division. Secretary of War Henry and Lucy Knox Harquis and Adrienne L"fayette --Clearing of dinner. Richard Henry Lee Music: "In Dulci Jubilo," SATB octet. James and Eliza Honroe -- "Green Growth the Holly," SAT trio. Paul and Rachel Revere "The Praise of Christmas," SATB quartet. President George and Nartha Washington "Greensleeves) II S solo, SATB chorus. ~: Dearmer, Oxford Book £!.~, pp. 186,136,16,57. In addition to the above political figures, some writers, painters, and composers such as Noah Webster, John Trumbull, Gilbert Stuart, and Francis Hopkinson might also be invited. IV. The Entertainment The orchestra should include such prominent professional and amateur musicians from Philadelphia as Alexander Reinagle, William Young, John Gualdo, Henry Capron, and Stephen Forrage. Music: William Billings--"Wake Every Breath," (1770), canon a6. Source: Original on frontispiece of William Billing' s ~ England Psalm Singer (Boston, 1770). I. The Arrival seque to Music: Josiah Flagg--"Hallelujah," (1764), SSATB. --Franklin and servants enter to check that everything is in order Source: Thomas Harrocco and Harold Gleason, ed., Music in America for the guests. (New York: W. W. Norton 6 Co., 1964), pp. 59-60~ --­ Original in Josiah Flagg, ~ Collection £!. the Best Psalm --Guests begin to arrive; Franklin greets each warmly and introduces Tunes (Boston: Paul Revere & Josiah Flagg, 1764). them to all. Music: Francis Hopkinson--"Enraptured I gaze," (1788), Tenor --President Washington arrives. solo with harpsichord. Nusic: Nr. Sicard's "The President of the United States Source: Francis Hopkinson, Seven Songs for the Harpsichord, reprint -- Harch," (composed ca. 1789), full orchestra. of the 1788 edition (Philadelphia: Musical Americana, Source: Original in Lib rary of Congress. 1954), p. 5.

~: William Byrd--"This Day Christ Was Born, {A Carol for II. The Welcome Christmas Day)," (1611), SSA.UR. Edmund H. Fellowes, ed., EngUsh Madrigal School, Vol. XVI --Franklin delivers welcome speech. (London: Stainer and Bell, Ltd., 1920), pp. 178-188. Husic: Anonymous--"\;elcome to Our Husic Feast," (composed -- early to mid-eighteenth century), round a4, SATB chorus. Husic: Anonymous--"The Golden Days We Now Possess," a satire Source: James G. Smith, ed., The ~ Liberty ~ (Champaign, on "The Golden Days of Good queen Bess," (1790), SATB soli, Illinois: Hark Foster Husic Co., 1976), p. 30. chorus. Source: To be constructed from words and tune given in The ~ --Wassail bowl carried in. Musical Hiscellany, reprint of the 1798 edition (New York: Tri.1ditional--"Somc.rset Wassail, 11 SATfl unison & chorus. Da Capo Press, 1972), pp. 89-95. Percy nearm~r, Ralph Vaughn Williams, and Nartin Shaw, The Oxford Book of Carols {London: Oxford Ilniversity Music: Trad itional--"The Cherry Tree Carol," glass Armonica Press, 1964);"Pp-:-64-65. and chorus. Dearmer, Oxford Book E!.. Carols, p. 145. --Toasts. Music: Francis Hopkinson--"Toast to General Washington," ~lusic: John Gay--"I'm Bubbled," (1728), SS duet with continuo. (composed 1778), SATB chorus with continuo. Source: John Gay, The Beggar' s ~, revised version of the 1728 Source: Original in Tomlinson Collection, New York Public Library. edition by Frederic Austin (London: Boosey & Hawkes, 6 Co., 1926), pp. 74-75. Washington reciprocates with his famous three-word toast, "All our friends." Music: Traditional--"Winchester," (Song of the Angels, ca. 1700), audience participation, unison chorus and congregation Husic: Benjamin Franklin--"Drinking Song," (composed ca. 1745), I'lined Dutil. Franklin solo, unison men with guitar. Source: Harrocco and Gleason, Music in America, p. 40. Original Source: To be reconstructed from word5 printed in Thomas Fleming, in Tate 6 Brady, !:. Supplement!E. the New ~ ed., Ben j amin Franklin: ~ Biographv .!!l lIis Own ~ (London: 1708). (New York: lIarper 6 Row, Inc., 19i2), p. "16; and the traditional tune, "Derry Down. II Husic: William Selby--"Ode for the New Year, January 1, 1790," SB duet, three-part chorus. Harrocco and Gleason, Nusic in America, p. 189-190. III. The Meal Original in !1assachusetts"Tla"Ba"zine, (Boston, 1789).

--Boar's head carried in. V. The Dance Husic: Traditional--"Boar' s Head Carol," chief steward solo, -- chorus, and orchestra. --Hagic act during set-up for dance. Source: Dearmer, Oxford Book E!.. Carols, p. 39. --Minuet, "Devonshire Hinuet," {ca. 1790),2 violins, flute, guitar, Franklin relates traditional story: "The boar's head tradition continuo. at Queen's College, Oxford, was first celebrated in commemoration Source: English Sheet Husic, Vol. 1 (London, ca. 1790). of an act of valor performed by a student of the college, who, while walking in the neighboring forest of Shotover, and reading --Song Aristotle, was suddenly attacked by a wild boar. The furious Husic: Anonymous--"Joy to the Horld," (ca. 1795), SATB chorus. ben5t came open-mouthed upon the youth, who, however, very Source: "Messiah," in The Responsory (Horcester: 1. Thomas, courageously, and with a happy presence of mind, rammed in the 1795), p. 30. volume, and crying Gaoecum Est, fairly choked the savage." Source:. T. F. Thiselton-Dyer;-British Popular ~ Present --Gavotte, "Gavotte by Corelli," (1765), to be orchestrated from given ~ Past (London: G. Bell and Sons, Ltd., 1911), p. 478. harpsichord pare. Source: Robert Bremner, The Harpsichord ~ Spinnet Miscellany, --Entry of servants with meal. facsimile of 1765 ed. (Hilliamsburg, Virginia: Colonial Nusic: Alexander Reinagle--"Federal March," (1788), full orchestra. Hilliamsburg Foundation, 1972), p. 19. S;;rt:"c;: Richard Franko Goldman and Roger Smith, Landmarks of -- ~~ Husic, 1760-1800 (New York: G. Schi~er, --Harch, "Handel's Harch," (ca. 1796), to be orchestrated from given Inc., 1943), facsimile of first edition, p. 98. harpsichord part. Source: Hilitary~: ~ Collection of Twenty-Four E!.. --Background dinner music. the Most Favorite Marches (Philadelphia 6 Ne,., York: ~: F. J. Haydn--"Divertimento in CH;" oboe, flute, Carr~l~p. 223. 2 violins ,. cello, bassoon, continuo; Allegro, Henuet to. --Song Johann G. Naumann--"Duo in GM;" lut·e and glass Armonica; Music: Jacob French--"Joy to the World," (ca. 1802), SATB chorus. pastorale variations on a "Sheep may safely graze" folksong. Source: Jacob French, "Happiness," Harmony E!.. Harmony (Northhampton, Mass.: Andrew Hright, C l802J ), p. 39. John Gualdo--"Duo;" 2 mandolins or violins with continuo. --Country Dance, "Country Dance," (ca. 1800), to be orchestrated from given Karl F. Abel--"Flute Quartet in AH;" flute, violin, treble and bass parts. viola, cello; Un poco allegro, Adagio, Minuet. Source: Pierre L. Duport, Q. ~. Country Dances (New York: for the author, 1800). Johann Stamitz--"Orchestral Trio, Op. 1, No.2, AN;" strings; Allegro assai, Andante poco Adagio. VI. The End Alexander Reinagle--"Sonata in E;" piano; Adagio. --Song Francesco Geminiani--"Concerto Grosso, Op. 7, No.3, eMj II ~: G. F. Handel--"Joy to the Horld," chorus, orchestra, and 2 flutes, bassoon, strings, continuo; Presto, Andante, audience. Allegro assai. Source: Christian Worship: ~ Hymnal (St. Louis: Bethany Press, 1953), p. 190.

THE CHORAL JOURNAL FOOTNOTES of Edinborough, London, June 2, 1765, Sachs, World History of the Dance, trans. 1. Samuel Gilman, Memoirs of a New in Albert Smyth, ed., The Writings of by Bessie Schoenberg (New York: W. W. England Village Choir (Boston: S. G. Benjamin Franklin, Vol. 4 (New York: Norton and Co., Inc., 1937), pp. 391-424. Goodrich, 1829), p. 123. MacMillan Co., 1907), p. 377. More technical, choreographic details are 2. John Quincy Adams, Life in a New 14. Letter from Franklin to Peter given in Kellam Tomlinson, The Art of England Town: 1787-1788 (Boston: Little, Franklin, (London), before 1765, Ibid., Dancing and Six Dances, a facsimile re­ Brown, and Co., 1903, p. 79. Vol. 5, pp. 533-34. print of the 1735 and 1720 London edi­ 3. Oscar G. Sonneck, Early Concert 15. Letter from Franklin to Mary Ste­ tions (Westmead, England: Gregg Inter­ Life in America, 1731-1800 (Leipzig: Breit­ venson, Philadelphia, 1763, Ibid., Vol. 4, national Publishers, Ltd., 1970; and Raoul kopf & Hartel, 1907), pp. 11-13. p. 194. Auger Feuillet, For the Further Improve-­ 4. South Caroline Gazette, Charleston, 16. Alice Morse Earle, Home Life in ment of Dancing, a facsimile reprint of March 22, 1773, quoted in Sonneck, Early Colonial Days (New York: MacMillan Co., the 1710 London edition, trans. by John Concert Life, p. 22. 1858), pp. 292-93. Essex (Westmead: Gregg International 5. City Gazette, Charleston, March 6, 17. Frances H. Haire, The American Publishers, Ltd., 1970). :-: 1794, quoted, Ibid., p. 30. Costume Book (New York: A. S. Barnes 6. City Gazette, Charleston, April 18, and Co., Inc., 1934), p. 125. This year has July 2, 1796, quoted Ibid., p. 34. brought into ready availability rather 7. Pennsylvania Gazette, November 28, authentic "bicentennial" patterns from DECKER TO BE CLINICIAN 1771, quoted Ibid., p. 75. the leading manufacturers. Other sources 8. Mary Gay Humphreys, Catherine for information regarding costume are AT ACDA·fVA WORKSHOP Schuyler (New York: Charles Scribners Edward Warwick, Pitz, and Wycoff, Sons, 1897), p. 168. Early American Dress: The Colonial and The tenth annual Choral Directors 9. A statement of objectives formulated Revolutionary Periods (New York: Ben­ Workshop, cosponsored by the Florida by Adgate in 1787 identified him as a jamin Blom, 1965), pp. 213-227; and U. S. chapter of ACDA and the Florida Vocal very early champion of music as a branch George Washington Bicentennial Comis­ Association, will be held at Florida State of public education: "To improve church sian, George Washington Play and Cos­ University at Tallahassee November 19 music effectually, and render it generally tume Book (Washington, D. C.: printed and 20, 1976. Included will be concerts useful and agreeable, it seems necessary for the Commission, 1931). by a junior, senior high school and uni­ that it should form a part in every 18. Charles Francis Adams, ed., The versity choir as well as repertoire reading system of education; for children can no Works of John Adams, Vol. 2 (Boston: and special interest sessions. more sing than read correctly without Little and Brown, 1850), p. 369. ACDA Past-President Elwood Keister being taught." Quoted by Sonneck in 19. Letter from Col. Erskine to Samuel of the University of Florida will report Early Concert Life, pp. 105-106, from Webb, quoted in John Hyde Preston, on a research project on the effectiveness Pennsylvania Mercury, March 30, 1787. Revolution 1776 (New York: Harcourt, of teaching voice, Professor Walter James 10. Sonneck, Early Concert Life, pp. Brace, & Co., 1933), p. 228. of FSU will devote a session to solo 114-115. 20. Hunter Dickinson Farish, ed., Jour­ literature for young voices, and high­ 11. James Parton, Life and Times of nal and Letters of Philip Vickers Fithian, lighting the program will be 3 sessions Benjamin Franklin, Vol. 1 (Boston: Tick­ 1773-1774 (Williamsburg, Va.: Colonial on stylistic interpretation under the di­ nor and Fields, 1867), p. 260. Williamsburg Foundation, Inc., 1957), p. rection of conductor-clinician Harold A. 12. Ibid., p. 260. 57. A general description of the most Decker, University of Illinois at Urbana 13. Letter from Franklin to Lord Kames popular dances may be found in Curt and ACDA Past-President.

What More Perfect Place to be at Easter?

International Choral Festival

A NON·PROFIT CORPORAfiON

The International Choral Festival in Italy, one of Europe's most presti­ gious choral festivals features individual concerts, adjudication, and APRIL 5-13, 1977 visits to some of the most historically prominent bascilicas, cathedrals, and churches of Rome, Florence and Milan. Highlighting this Easter Week program is a spectacular combined p.~r­ formance of all choirs participating, in the beautiful St. Peter's Bascrllca , Please send me information on the at the Vatican. Participation is open to all high school, college, church IAJ'------­International Choral Festival. and other non-professional choirs. I· Name ; . I Organization . Interested in an unforgettable educational I Address . experience? Direct your inquiries to: City . INTERNATIONAL FESTIVALS INC. P.O. BOX 41 I State Zip . PARCHMENT, MICHIGAN 49004

OCTOBER 1976 11 an initial exposure to improvisation and Vocal Jazz for Your Choir lighter swing choir/vocal jazz material that will be usable all year for the many HERE'S HOW community performances we present. Then it works on a set of Christmas material which includes more conven­ the entire choral program and to that DOUG ANDERSON tional literature. This is followed by two director's interest in teaching. This article or three months of madrigal and cham­ will give several suggestions on how the ber choir material. The year is closed vocal jazz style can be added to an Doug Anderson is in his thirteenth year with a more thorough study of vocal jazz. as Director of Vocal Music at McMinn­ established choral program adding musi­ The last week of school a spring show ville High School, McMinnville, Oregon. cal excitement which will make the exist­ His vocal jazz ensemble, The Twilighters, is presented, which includes samples of ing performance groups even stronger. have the distinction of placing in the the literature from the entire year in­ finals six of the past seven years at the Why should it be added to your pro­ cluding solos and specialty numbers which Northwest Vocal Jazz Festival at Mt. gram? As choral directors we have the Hood Community College in Gresham, the students develop on their own. I give Oregon. The Twilighters have performed obligation to allow our students to ex­ this yearly outline as a suggestion because at several music educators' conventions perience excellence in all styles of choral you possibly have the same goals in including the NW-ACDA in 1972 and 1976. music. To deny them Bacharach, Bru­ Doug is a member of the newly formed mind for your best students as I do. To ACDA Jazz and Show Choir Committee beck, or Barduhn in honor of three other be in the select vocal jazz ensemble a and is immediate past-president of the time-respected "B's" is to close the door student must have a year in the 85-100 Oregon Music Educator's Association. A on a large portion of the future's musical voice concert choir as a prerequisite. frequent clinician, adjudicator, and work­ history. The student is living while this shop instructor, he is the author of The Therefore, when he graduates from Mc­ Swing and Show Choir and Vocal Jazz music is being created - it is now music Minnville High School his choral experi­ Ensemble Handbook, published by First for the now student. Because it is music ence has included a variety of styles, Place Music. of their time it has great appeal to the each studied thoroughly. students. Young people are drawn to a choral program which appeals to them. After the director is convinced that When the term "Swing Choir" or The inclusion of a vocal jazz program in vocal jazz deserves a place in his choral "Vocal Jazz Ensemble" is mentioned in your choral offerings will allow you and program he needs training to make this a gathering of choral directors there are your students to dig into choral tech­ addition successful. Unless one has gradu­ many gasps of horror. To think that this niques inherent in this style which, when ated from a jazz-oriented teacher training up-start new style is encroaching into applied to the conventional choral litera­ institution in the last few years he has their conventional choral program is more ture. will give it new excitement. Con­ received little or no college training in than they can bear. "You're not going cepts in rhythmic vitality which must be this style. Therefore, he will need to to catch me allowing my singers to ruin present in a vocal jazz ensemble (more attend some summer workshops and con­ vention sessions to pick up ideas on the their voices with that loud raucous stuff. on this later in this article) will add techniques of t1;lis new style. Many sum­ Besides, if they start singing pop charts new energy to the chamber and concert mer workshops of one or two weeks I'll never get them back to the good choirs. Demands placed on the student duration became available this past sum­ classical literature." for increased harmonic and rhythmic mer and though some presented this style Obviously I'm being a bit facetious sight-reading ability in the vocal jazz as a show choir, some as a swing choir, here to make a point, that point being ensemble will make him a better reader and some as a vocal jazz ensemble, all that the resistance to the swing choir/ of conventional literature. The increased had lots to offer the experienced choral vocal jazz movement rests entirely in opportunity for creativity through impro­ director' who may be a neophyte in jazz. the hands of the choral director. In re­ visation, arranging, or composing in the Since it is several long months until sisting this style of choral music however, vocal jazz class is another prime reason these workshops are offered again I offer the director is denying his students and for its inclusion in a choral program. this suggestion: Identify a swing choir himself the exposure to an exciting new Now, how does one go about adding it program in your area which you respect ~tyle that can give renewed vitality to to an already active choral program, and take your students to visit that school. since it is so often difficult to find space Attend the rehearsals of that group and in a high school's existing curriculum ask the group to perform some finished for an additional class? Because the pieces for you. Your state ACDA chair­ vocal jazz/swing choir style is best per­ person can help you identify high school fo:med in a group of 16-30 singers, it or college groups in your area which have mIght be best to use a present group, strong programs in existence. If these your madrigal or chamber choir, and add opportunities are not available try to make this style of literature to what they are arrangements to attend a concert given by now singing. It may be that you have a respected group which will allow your room in your curriculum to add a new class especially for the study of vocal students to at least hear what you desire jazz and swing choir literature. However, as a final outcome of your vocal jazz a prerequisite for this class should be program. Later, when your group is at least a year of concert choir or cham­ established arrange with an experienced director to listen to your group and work ber choir so the students' total choral music education includes a variety of with your students while you observe his techniques. If YOU think that director styles. It is my recommendation that your works well with- your students you might choral ensembles should include literature of many choral styles and that these arrange an all-day clinic at your school styles be studied in blocks of time during and invite him to be your clinician. the year. The McMinnville High School Once you have decided to establish a vocal jazz ensemble begins the year with vocal jazz program the following tech-

12 THE CHORAL JOURNAL niques might be followed: The first task, The tone must be exciting - loud or soft, group but basic good singing techniques clearly, is to select the students. Here is it must be exciting. I divide tone into apply. a tryout procedure that works: Get all two classifications - vocal and instru­ Beginning consonants are treated as an the girls together at one time. Arrange mental. There is the vocal tone where important attack to the word and receive them in one big circle by sections ­ the singer is singing with his voice. It a bit more accent than conventional dic­ soprano, mezzo, and alto. Use a tune they is most likely on a line that is very tion. Ending consonants come in two know ("America", "Day By Day", etc.) melodious and the tone should sound categories. The first is what I call an and ask them to sing the melody in a flowing, free and effortless. The instru­ "open consonant" where a rush of air comfortable key. Start with three so­ menlal tone involves a concept of the is allowed to make the consonant sound pranos; after a phrase or so signal the singer playing his voice in a manner (d equals "duhh," t equals "tuhh"). The first girl to drop out and the fourth in similar to the wayan instrumentalist open consonant is used to aid in enun­ line to join in, thus creating a new trio. would play his horn. The tone is coming ciation (nothing new about that!). and Continue around the circle (dropping out at you - it is very present. (2) It as a rhythmic pulse. The "closed con­ the 2nd girl, adding the 5th, etc.). Listen may be necessary to color the. sound sonant" (no air escapes after the con­ for the strongest voices in the early audi­ somewhat to get a desired emotional ef­ sonant) is one of the keys to success in tions. I always feel I can develop quality fect or to imitate a certain professional vocal jazz. Often in a vocal jazz score of voice but if the quantity of voice is not there to begin with you are in for a year of struggle. The next step is to ask three girls who are not standing by each -other to sing. Now you can hear each voice individually while they still have the comfort of a trio to sing with. I do not ask them to sing by themselves -I am auditioning ensemble singers, not soloists. I get a much less nervous picture of the voice that is singing with a few others. Use a similar process to tryout the male voices. If you desire to check melodic and rhythmic sight read­ ing you should develop some exercises to do this. I caution you to not make this a difficult or frightening experience for young singers for you may lose some potentially fine ensemble members who are inexeperienced sight singers. With me, the important thing is quantity of sound. I can develop quality, blend, and sight-reading abilities. The next step is to select music that is within the capabilities of your singers. I would recommend starting with light, easy swing choir literature and advancing to more difficult vocal jazz material as the year progresses. (l) If your group desires to be a show choir with chore­ ography enlist the help of an experienced person such as the drama coach, drill team instructor, or a student with dance experience. Few choral directors have the choreographic skills necessary to produce the movements which enhance the music! After the group and music are selected, attention can be directed to performance techniques. It is the desire of all choral directors, especially ACDA members who will be reading this, to perform a given piece in the correct style. Let's discuss a few pointers on correct style for vocal jazz. In general the tone quality wiII be a very forward one, right at the teeth, with no 'vibrato. This will allow the tight harmonies to sound in tune. The same pure open vowel concepts which make a chamber choir sound are applied toa vocal jazz ensemble. To have an exciting swing choir, one that turns any audience on, the tone has to have presence to it.

13 OCTOBER 1976 VOCAL JAZZ ... Another important factor in successful whole 12-bar statement must also give style interpretation in vocal jazz is rthyth­ a musical thought. one will see .the word "dot" (for in­ mic interpretation. Do not feel you are One more technique hint in closing. stance) on an eighth note. The tongue tied to' the score! Jazz musicians call a There are many beautiful acappella bal­ goes to the top of the mouth on the "t" piece of music a "chart" because it is lads now being published for the vocal and stays there, thus creating a one­ just that. It is a guide as to' how the jazz ensemble. This is an excellent means syllable sound. If an "open consonant" tune should go but the jazz musician of showing the true singing ability of is allowed to happen here we will hear can take liberties which allow him to your ensemble. Most of these ballads deal "dah-tuh" which has two syllables and create his own interpretation of the piece. with an emotional topic (lost love, saying destroys the rhythmic intent of the single A basic rule is to allow your ears and goodbye, etc.). Be sure to take enough eighth note. mind to tell you how it should be per­ time in the interpretive performance of Closed consonant formed - if it sounds good, do it! Here these ballads to allow the emotion of the correct: _ incorrect: are some basic hints which are standard piece to come across. During the ballad knowledge for instrumentalists but may use the extremes of dynamic levels, espe­ I J J1 7 -,...... J el -_I' ....1'... be new to the choral director. In swing cially on the pianissimo side, to create Bee Doo Dot Bee Doo Dah-Tuh the desired effects. time and jazz this pattern: n n There are many other aspects of de­ or this pattern: 1:7/,Jis performed veloping a swing choir/vocal jazz en­ 1"7"~'iJ .. .r=3·;] semble which space does not allow us to like this: 'J J III :.r;;r-;;; . The DClc; v£.t:. l>Q'o V ~ E' discuss here. Give these ideas a try to words "doo-vee" give a good feel for this get started and somewhere along the line rhythm. you'll have a chance to pick up some A quarter note, which we were all additional ideas. In the meantime do lots NEW brought up to believe gets one count in of listening to jazz groups - instru­ 4/4 time. sometimes will be considerably mental as well as vocal. Also, ask for shorter in jazz if it has certain accent help from a fellow band director, whose SECULAR marks with it. The following illustrates background may include more jazz than the various things that can happen to a yours. OCTAVOS CJuarter note: This style of music has given new life to my teaching and interest in choral Four Selections from Human sound to music. I know it can do the same for "Celebrations" for Chorus Written: Treatment: Sung: imitate effect: .J Full Count ..J BAH you. Go to it! and Wind Ensemble ~ ~ full count ..J OAH FOOTNOTES Accent 1J~ by Vincent Persichetti ~ 1. For a rated listing of recently pub­ ~ lIHousetop" short accent BAHT Texts by Walt Whitman i;;, lished scores see THE CHORAL JOUR­ .J Staccato, no accent ');;1 BUH NAL, Vol. XVI, No.8, April 1976, pp. 20. .J Staccato accent ":['1-:;1 BT (very short) 2. For a more complete discussion see (All for SA TB, Piano) 1.\ The Swing and Show Choir and Vocal A CLEAR MIDNIGHT...... 30 Jazz Ensemble Handbook, Doug Ander­ I SING THE BODY ELECTRIC ...• .50 Each is performed in response to the son (Studio City, Ca., First Place Music accent mark with it. PUblications, 1974) pp. 55-59. :.: SING ME THE UNIVERSAL...... 40 Regarding the use of improvisation in THERE IS THAT IN ME ...... 50 your teaching I highly recommend get­ ting Dominic Spera's new series Blltes ..... OTHER RELEASES Book Review ... alld The Bastes published by Hal Leon­ ARISE AND LET US SING NOW ard. He takes the basic 12-bar blues and BEETHOVEN -A DOCUMENTARY (SSATB, a cap.) STUDY (abridged edition) Compiled shows through written and recorded ex­ Paul Peuerl/Robert Field 50 and Edited by H. C. Robbins Landon GOOD-BYE (SATB, a cap.) amples how the riffs (short repeated Macmillan Publishing Co., Inc., 216 pp. Jean Berger 50 melodic patterns) should be performed. This review covers the abridged edition GOOD-BYE, L1ZA JANE (SAB, Piano) This method can be applied to your en­ of a well-documented source of Beetho­ ven's letters and those of his contem­ American Folk Song/ tire class or to selected individuals who poraries, friends, and colleagues; it is, Jacquelyn Beahm 50 desire instruction in improvisation skills. in fact, a composite of what Beethoven IF YOU CAN'T BELIEVE IN Here are the basic 'steps to get you thought of himself and his close asso­ LOVE (SATB, accomp.) started: ciates, and what others thought of him Gary Paxton/Ron Hellard/ - including general and specific aspects arr. Larry McFatter 50 1. Have your rhythm section play this of his personal and professional life. It ROUNDUP (Two-, Three- and chord progression: (12 measures) is a much needed biographical corre­ Four-Part Rounds, a cap.) C7 C7 C7 C7 F7 F7 C7 C7 G7 F7 C7 C7 spondence chronology of the most im­ Peter Schickele 50 2. As this is going on have the group portant transitional compositional figure SNOW (AWinter Suite) of the revolution between the Classical sing the root only on whole notes. and early Romantic epochs. (SA TB, unaccomp.) 3. Next time through they may explore -Dr. Daniel Josef Brenner Devin Crosby/Tom Fettke 50 a neighboring note (2nd or 3rd away) Prices subject to change without notice. but return often to' the root. Chappell Music is publishing an original 4. Then outline the chord (root, 3rd, musical by Morton Gould and Carolyn FREE reference copies of any six 5th). Leigh titled Something To Do. The first selections - write Dept. R-413. 5. Increase the exploration with re­ musical commissioned by the Labor De­ partment in conjunction with the National THEODORE PRESSER peated riff patterns and finally with free Endowment for the Arts was premiered improvisation. Labor Day at Kennedy Center. The unique COMPANY Stress the importance of phrase structure hour-long combination of music, dance - each 4-measure phrase should "say and drama featured Pearl Bailey in her ELKAN-VOGEL, INC. first stage appearance since her retire­ something", even though the singer may ment, the Robert DeCormier Singers, with Bryn Mawr, Pa. 19010 be using nonsense scat syllables. The choreography by Louis Johnson.

14 THE CHORAL JOURNAL inkh m: n mposlngl1li AN INTERVIEW WITH DANIEL PINKHAM

JAMES MeCRAY faster or slower, so that initially the piece looks as though it can be done without having a tape. The tape functions in this Dr. McCray is the chairman of the mu­ case to provide pitches from time to time sic department of Longwood College, a and has rather effective background predominantly women's institution which sounds. and is not strictly synchronized. is part of the Virginia University System. ~s In addition to numerous articles which I t is though the tape were providing have appeared in various periodicals, he scenery on a stage for the choral per­ is one of the choral reviewers for The formers. Choral Journal. He is the co-author with Lee Kjelson of a textbook for choral I have clone pieces in which the taped musicians, The Conductor's Manual of part carries a far greater role in rela­ Choral Music Literature, and he is also tionship to the live music. but in these. a composer with over 25 published choral the Holtzman pieces. there was a very, works. Frequently he serves as a guest conductor for choral festivals and work­ very small part. I clon't think one is shops. In 1971 he was awarded the "Pro­ necessarilv better than the other. but I fessor of the Year" award by the honor had clecicl-ed to make vour choir (Long­ societies at the University of South Flo­ wooel College Women\ Concert Choir) James McUray with Daniel Pinkham rida for outstanding teaching excellence. the focus of the attention rather than the music on the tape. IV!cCray: Your manuscripts over the 111 cCra\': What about the discipline of The interview with Daniel Pinkham years have been extremely practical from the composer? Are your working habits the standpoint that you allow the per­ was made in a car while he and Dr. such that you say I am going to compose James McCray were traveling to the ai:­ formers to use what is readily available a certain amount of time each day, or to them. This is not always done, but port. Pinkham had just concluded hIS does it occur because of the stimulation three day symposium as the featured com­ frequently you permit several possible of an iclea or a commission? orchestrations of a single piece. W'ould poser at Longwood College, Farmville. Pinkham: Well. I have enough com­ Virginia. This contemporary music sym­ vou comment on that approach, for your­ missions for a couple of years as it is ~elf. as opposed to some other composers posium was the first for the college. ~nd now. so I am quite diligent about my in commemoration of this event whIch who have a particular note or color in work habits. I have found that I write mind and refuse to make any knd of is to become an annual event. the music less without the commission stimulus. department had commisisoned a new changes? As to time, I have discovered that Pinkham: I would have to say that choral work for women's chorus and morning is best for me. I find the notes, electronic tape. This work, Two Poems there are two different approaches which which still is the most difficult, in the I use. One is a fairly flexible one, and of Howard H o!t:::mGn, received its pre­ hours roughly 9 :00 a.m. to noon, and miere under the direction of Pinkham the other uses a great deal of precision. then when I am not so clear minded, I I don't think that allowing a variety of and featured the Longwood College Wo­ do those mechanical things like orchestra­ men's Concert Choir. performance media necessarily indicates tion and score preparation. Once I have indecision. It is a strength. not a weak­ ««»» started on a piece I really know quite ness, that the pieces survive in more than well what the direction is going to be one situation. I like to write scores which McCray: As mUSICIans, we are always and. in fact, when I get a minute or so suggest to the creative performer a musi­ concerned as to the methods of a person's of the piece in some kind of pencil score. cal reading to which he himself can craft with regard to composition. We I immediately, even though the work is hring his own creativity in performance. spend a considerable amount of time not completed, go to working with the reading the letters of Mozart, Bach and full orchestration. Many people would ~Make Wagner, etc. to see what can be extracted find this risky. and sometimes it is, but Better Singers for a, Better Choir from them. Would you comment on the mostlv it works well depending on the The long-playing .record method by which you compose? For ex­ natur~ of the piece. Sometimes you have SINGING INSTRUCTION to start in the middle and work outwards. ample, working with electronic music, AND VOCAL EXERCISES do you write the traditional music or Generally, things have come fairly quick­ TO PIANO ACCOMPANIMENT create the tape first when employing Iv for me. BY MIRIAM ROBERTS both mediums in a single composition? • McCray: After you finish the manu­ script do you turn it over to someone to can be a valuable teaching aid to enhance Pinkham.: Every piece is different. the quality of the choir. This record con­ There was one piece I did a few years make another good copy or do you handle tainsVOCAL EXERCISES to PIANO AC­ ago for mezzo-soprano and tape, Safe in all of that kind of nitty-gritty thing COMPANIMENT for all voices, male, fe­ Their Alabaster C/t.amberson poems by yourself? male, beginner to advanced. Singers. will enjoy practicing at home t.o th~ plano Emily Dickinson, and in that case, the Pinklwm: No, I make all the manu­ accompaniment, improve thel.r vOlc.es, as entire taped part was written before a scripts myself. I enjoy it. It is particularly well as gain from the instructional Side on note of the music for the voice was com­ important, I think, and part of the com­ the proper use of the voice .. posed. +n the case of the new work which poser's craft to make a good manuscript Every Library should carry thiS record for the students' use. your choir just premiered, Two Poe'n1S simply because the economics of the situ­ Choir directors, librarians and students can of Howard Holtzman, all of the choral ation these days is such that engraving order from KOSAK RECORD CO., 107 music was written first because of the is prohibitively expensive; a large work, Forsythia Drive N., Levittown, Pa. 19056. pacing. There are places in the score particularly an orchestral score, will be Telephone (215) 946-5793. . Price: $5.99 plus $.36 tax for Pennsylvanians. where the conductor can adjust the tempo, printed by offset photography.

OCTOBER 1976 15 PINKHAM . .. been very much concerned with the tra­ chronizing with other members of that ditional forms such as a sonata or con­ section, so this gives a kind of effect Music should reveal both the insight of certo, which had a somewhat consistent of clouds up in the sky which gradually the performer as well as that of the internal structure. Do you think that assume different shapes in a rather lazy composer. approach has changed today and if so, breeze. McCray: What about your early days has it changed in your music? M cCray : You travel around the country as a student? Were you always interested Pinkham: I grew up in the neo-classic frequently because of the commissions in composition? tradition where forms, especially Baroque and workshops. Often these performances Pinkham: I was composing from maybe forms, were very vital and, -of course, in are for high school choirs. There has five or six on. The first professional my large experience in the performing been a tremendous change, I think, in guidance I had came when I went to of Baroque music I am especially con­ the level of performance of the students work with Walter Piston at Harvard as scious of a strong geometric formal struc­ as to what they can and cannot do. a student, and I still have quite a batch ture. Thinking back over the last twenty years, of things, particularly songs and choral I have done so many texted pieces I imagine that you would have found pieces,. which came from the forties. that it is somewhat of a copout because very few choirs or choir directors for Among them was the Sonata Nnmber 1 the shape of a poem will itself determine that matter, who earlier would have at­ for Organ and Strings which was com­ a structure. In non-texted pieces I think tempted to do some of your manuscripts. pleted in 1943 and performed in 1944 by that my feeling about structure has And yet, now, they do them frequently E. Power Biggs and Arthur Fiedler. changed very much since my working and easily; they acecpt the challenge and, That was the first completely professional with electronic music; but, there is a indeed, welcome the challenge of a taxing performance I had. freer kind of structure and a longer time choral work. Has this influenced you as McCray: In addition to Piston, which span, and I find that even in electronic a composer? composers influenced your style and ap­ music I like to feel those kinds of struc­ Pinkham: I would have to say that I proach to music composition? tures. am very much aware of the performing groups for which I am writing for the Pinkhanl: Actually. a very curious un­ Jl;j cCra)': Let's disLUss specific works likely group of people. In a totally dif­ now. Three years ago. when I was teach­ initial commissioned work. I think back to one large score, Daniel in. the Lion~s ferent direction from Piston I was also ing at Saint Mary's College in Notre influenced by Aaron Copland. Copland's Dame. we commissioned you to write a Den) because initially this was to involve two choruses, one a professional chorus pseudo-folk-like melody still may be seen piece for us which turned out to be the from time to time in some of my music. Alleluia. Acclamation and Carol, a three­ and one a chorus of high school students who were to be assembled for a weekend The harmonies of Faure interest me very movement work. In the Alleluia move­ workshop. They had to learn everything much, in fact, in my formative years ment you employed female solois,ts. stand­ during that weekend so there are sections touched me far more than the twelve-tone ing in various places away from the choir which are extremely easy, some of them atonal language. Then certainly Hinde­ in the back and sides of the auditorium, are unison, as well as a few things in mith in the mid-forties had that kind of and they sang fragments of the Alleluia the chorus where they make funny noises dry and economic line which. of course. on different notes and at random times like saying "growl" and "roar"; they are is also reflected by Piston. and. as I recall. it was very flexible in to be the lions. The smaller sections Most recently the strongest influence is that one soloist would start it and then for the small experienced chorus are that of Richard F elciano, to whom I am she would nod to another, and then the really much more demanding and more vastly indebted for a variety of insights. latter would begin. Could you discuss interesting to the adult singers. most noteable, the use of electronic tape this aspect of your music? with chorus. His composition. Pentecost McCra'y: Could you describe your Pinkham: Some of the procedure is Sunday is to me, simply a marvel. It was studio at home? What kind of equipment lifted from Richard Felciano actually. He the first electronic piece that I performed do you use to compose the pieces? has a work for organ. two percussionists and came to know and enjoy. Pinkham.: All of the equipment is and tape called Ekagrata: this idea of McCra)/: How would you describe your Electro-Comp, made by the Electronic having the players in turn signal to the approach to structure? For years we have Music Laboratory in Vernon, Connecti­ other colleagues is used in it. Also, there cut. First I got the so-called Studio is the practical side of things. It is im­ Synthesizer, and the manual controller. portant to realize that if you are going Later I got a keyboard controller and to have a large number of performers later yet a 32-stage sequencer which scattered through a hall, the acoustics of makes the equipment really very flexible. the hall and the size of the hall will Occasionally I use my Peterson Chro­ make a great deal of difference, so con­ matic Tuner for pitched notes because sequently you have to invent a technique it is even more accurate than many which aids in these problems. In the oscillators. case of the Alleluia which I wrote for your choir (Saint Mary's College), the McCray: Is the amount of electronic music being performed today on the rise, hall was filled with these solo sounds like angels flying around. or is it about the same as five years ago? I also have a piece which I did for Pinkha111·: The wide spread availability the Florida All-State Choir in which of cheap synthesizers has caused more there are some measures of music, each youngsters to work with electronic music. of which last five seconds with a large The next direction for us may be in live chorus singing as softly as possible. For electronics, in other words, having the instance, the sopranos may have from possibility of performing in real time one to seven notes in this measure and rather than having pre-recorded tapes. they place these little unstemmed black McCray: Do you maintain your career notes any place within the measure, try­ as a concert harpsichordist? ing as much as possible to avoid syn- P.inkham: No. In 1961 I was very,

16 THE CHORAL JOURNAL card will be retired before the November a tight hold on the purse strings, yet d)1UUH. tks ------. Iou-rnal; September (SP6) before the it was through his suggestions that Life November mailing. Just a word from funds were placed in savings where the Executive Secretary's your President may keep you from mis­ interest became a buffer to help keep us sing issues which are not sent as in the solvent. His constant reminder that "a '------.2>uk past. Should you remain out for 2 or 3 penny saved is a penny earned" helped months or more, your re-entry date will keep everyone from overspending and TYPE - IDEAS be used to figure your membership for out of it emerged a financially sound In this issue we have reverted to a the coming year, so check your Iournal policy. larger size type for easier reading which label to see when your due date is and In a rapidly growing organization in we hope you will appreciate. Since the help us keep your Iournal coming to the throes of -constant changes, with a changeover to the smaller face, we have you. need for better disbursement methods' and not had one complaint although Louis To find your date, remember to cover Constitution and Bylaw revisions to keep Diercks says he has had several. Please the last right hand figure in the series up with that growth, Harvey initially de­ don't hesitate to let us know your likes of 9 figures and letters: that last figure vised a bookkeeping system that discarded and needs; we're here to make The is the mailing zone from Tampa. The two the old "so much a member" system and Iournal more available to you. Lou also letters and figure just preceding it is led us to the beginning of a far more says we should use some lighter material your expiration date. Only one dues no­ realistic and equitable fund disbursement such as line drawings or amusing musi­ tice will be sent you about 2 months system based on needs of Divisions and cal situations, facts, or fancies. Should prior to your expiration date to remind States, which has since been developed any of you have anything you feel might you to renew your membership. You can and perfected by the Board of Directors. be enjoyed by all of us, please forward help us and yourself by checking and Of course he made occasional errors; it to Lou Diercks for consideration. paying on time. If you are in an Affiliate we all did; but nothing can ever tarnish State, be sure you send your dues to his zeal and loyalty or repay him for MEMBERSHIP LISTS your State Treasurer. the hours of loving labor he gave to ACDA during his tenure of office. It is During the past month new Member­ HARVEY E. MAIER ship Lists have been sent. to all Division, to him and other pioneers of ACDA National, and State Presidents, lists which A short item in this issue announces that we owe a huge debt of gratitude with their new coding will permit State the retirement of Dr. Harvey E. Maier which was evidenced at our last National Presidents to contact those members who from UM-KC after a lifetime of service Convention where he was presented with are about to let their membership lapse in the field of music education and choral a gift, a memorial plaque, and granted and remind them to renew before missing conducting. I should like to pay tribute Honorary Life Membership in ACDA. copies of The Choral Iournal. With our to him as one who best knew him during I am certain each of you join me in new continuous membership, you will be his years of service to ACDA. wishing him a happy and eventful retire­ allowed one month grace before your Taking the office of Secretary-Treasur­ ment with new interests and activities card is retired for non-payment of dues. er at a time when the organization was to replace his teaching and keep him as If your due date is August (AU6) your financially unstable. his continued firm active and friendly as always. We had control and constant attention to detailed pet names "a la Milne" for each other receipts and expenses helped bring ACDA during those years to show that personal to a state of financial independence and feelings were never involved in disputes. PINKHAM ... stability. Of course he irritated each of I'm proud of mine, Harve, and wish us at times by unilateral decisions and you well! Growly Bear :.: very sick and was told by a doctor after a long stay in the hospital that I would have to change life styles. If I were to survive it was necessary for me to take a much less physically active kind of NEW RELEASES existence. So, consequently, I gave up Resonet in Laudibus ...... 65 all the touring as a harpsichordist. Para­ deLassus-Harler (SATB) doxically, I am infintely busier now and Say, Love, IfEver Thou Didst Find...50 Dowland-Fiora Contino (SATB) more active than I ever was before 1961. Ah, Must We Part , 40 That kind of adversity turned out to be Monteverdi-Owen Goldsmith (SSA) an advantage in at least the composing November 22; An American Elegy ...55 Randolph Currie (SSA) aspect of my composing career. War Is Kind...... 55 McCray: Thank you very much for John Carter (SATB) At Last The Perfect How-To-Do-It Book! Song ofthe Silver Bells...... 45 these insights into your personal and RENAISSANCE ENTERTAINMENT AND professional background. Your visit here James Myers (SSAA) MADRIGAL DINNER My Faith Looks Up To Thee 45 to Longwood College was very exciting A Plaine and Easie Introduction to Mason-Carter (SATB) for the faculty, students and the entire Practicall Production by Fiora Contino & John and Susan Howell CHRISTMAS community. I know I speak for the mem­ *********************************** Fanfares for a Festival Banquet bers of the choir when I say that to Winds Through the Olive Trees...... 40 for Brass Quintet $10.50 perform the premiere of your new work, the perfect companion for a Francis Pyle (SATB) Joseph Met Each King (with flute) ., .35 Two Poems of Howard Holtzman under Madrigal Dinner your direction has been the high point ed. by Wagner John Carter (SATB) of our musical year. Free review copies available on request. Pinkham: Well, Jim, my thanks goes to you for inviting me. I have very Roger Dean much enjoyed being here and again con­ gratulate and thank your choir for their Publishing Company 324 West Jackson Macomb,lIlinois 61455 fine performance. :.:

OCTOBER 1976 17 sionally manufactured stands are available which do the same One Way to Mike a Musical thing. Our homemade holders, however, were made from sponge rubber type packing material and they seem to work most efficiently. We constructed the holders so that the dia­ MIKE LEWMAN phragm portion of the microphone is tilted down toward the floor. Experimentation has shown that the mikes can be placed almost horizontally in their holders and work equally Mike Lewman, a native Hoosier, received his Masters de­ gree from Indiana University. Currently he is employed as well. When the mikes are positioned properly, the front of Audiovisual Consultant at East Senior High School, Columbus, the mike rests very close (an inch or less) to the floor. By Indiana. His responsibilities include the production of all types placing 4 or 5 (Figure B) such mike set ups across the of media materials from filmstrips to multi-screen, multi-media front of the stage complete coverage is assured. programs. He is an avid audiophile with training in profes­ sional recording techniques and considerable experience in professional radio and television broadcasting. He has designed and installed several school sound recording facilities and sound reinforcement systems.

One problem that many people encounter when they pro­ duce a school musical, or any type of play for that matter, is the quandry, "Should we mike the show or not ?" How you answer that question is definitely a personal decision. Everyone seems to have plenty of opinions and prejudices to support both the mike and the non-mike positions. How­ ever, if you are in the "mike camp" and you plan to give sound. reinforcement to your performers, then I have a plan you might try. If you do decide to mike your musical, be prepared to accept the fact that if you want mikes to work effectively, you are very likely going to have to see them. Some people think that mikes should be tucked away in the rafters some­ where for fear they'll be seen. This is sheer nonsense. Almost everyone knows what microphones are used for so why try to hide them? I contend the audience will not be offended if they see the mikes, especially if the sound reinforcement those mikes provide is good. thus contributing to a more enjoyable performance. There is a way, however, to make the microphones on stage less obtrusive and in the bargain Figure B. Four or five mikes spaced evenly across the stage make them more effective. assures adequate coverage. It is not uncommon to see stage shows miked with a series of microphones on stands spaced evenly across the front of the stage. There is no question that this system does There are a couple of reasons for placing mikes on the work. However, such a set up often produces a very hollow floor as opposed to putting them on stands. First, on the sound when fed through a sound system. There is another floor the mikes are far less of a viewing obstruction for the audience. This in itself may satisfy many directors. A far way. The system we have used successfully involves placing more important reason, however, is that the sound reinforce­ mikes in special holders, located directly on the floor. Before ment they provide is better. you cast away our procedure in total disbelief. let me explain Placing microphones at some arbitrary height on a it in more detail. stand often results in a hollow sound due to phase cancella­ tion of the direct sound with the reflected sound (Figure C). The sound reflected from the floor has to travel farther than that which travels directly to the mike, producing significant dips in the frequency response of the signal at the mike out­ put and decreasing the amount of gain or volume you can expect from your total system.

W DIRECT SOUND MIKE ~ Q tJ)o~----0<> t c' /' 4 Fl PATH LENGTH ~).:o-u.~ DIFFERENCE LARGE "'" ~e," 0:>'/ ~/ Floor.... t

Figure C. A more hollow sound results when the path length difference between direct and reflected sound is large.

By moving the microphone closer to the floor (Figure Figure A D) the path length difference between the direct and reflected First of all, the microphone is cradled in foam material sound is reduced. Although this method does not completely (Figure A) which effectively isolates it from any direct eliminate the phase cancellation, it alters it in such a way contact with the floor. If you want to pay the price, profes- that it is less objectionable. The overall effect is a lessening

18 THE CHORAL JOURNAL --.-,

of the hollow sound associated with distant miking techniques and can accentuate the hollow sound of the system. If singers and an increase in the volume you can obtain from your are well back on stage, balancing the mikes is relatively easy. sound reinforcement system. It follows that if the mikes If two singers are working together and one is close to a could be partially sunken into the floor there would be no mike (Figure E) and the other is down stage, it may be reflection and thus no phase cancellation. Of course, in reality easier to balance them on a mike across stage which is sunken microphones are rare. The closer to the floor the roughly equidistant from each performer. mike can be placed the more effective it will be. s4i? ~ ~ PATH DI FFERENCE ~ l(~::---.... MUCH SMALLER t , ~ ~irect Ae} 4 Fl Reflected~ -...... MIKE ~ ~/O CD CD CD Figure D. Moving t:le mike closer to the floor decreases Figure E. Performers A and B balanced on mike 3 difference in path length, lessens phase cancellation and makes increased gain (volume) possible • instead of mike 2 since performer A is much closer to mike 2 than performer B.

We use microphones with cardioid pick up patterns. Though very close to the orchestra pit, cardioids, because The secret to making any sound reinforcement system of the directionality of their pick up patterns, discriminate work is practice. Once the decision is made to use mikes, against the orchestra. Thus, the music emanating from the make plans to rehearse numerous times using them. This pit does not overpower the performers on stage. Although allows time to experiment with mike placement and it affords you might imagine footsteps on stage to be an impossible the director and performers an opportunity to block the pro­ problem to handle with mikes on the floor, they really are duction to get the most from the set up. Unless you are very not. Of course if a whole troup of dancers comes "hoofing" lucky, don't expect to set up microphones for one "technical" right up on the mikes, you are going to hear them. But rehearsal and then go into public performances and be really these types of problems can be minimized by conscientious happy with the results. blocking during rehearsals. Whether you elect to use microphones for your musical To make this, or any, miking set up work. you have to production is your decision. However, if you do elect to add monitor the microphones. Someone should be at the controls sound reinforcement, make that decision early in your re­ at all times. You can't just set up the mikes and walk off. hearsals, then try the miking technique described here. Of It is best not to have all the mikes open all the time. This course this technique has its limitations, but it may be just makes covering the stage easy but it also adds reverberation what you need in your situation. :.:

December 27-30 I 1976

Sponsored by: INTERNATIONAL fESTIVALS INC.

second annual choral festival to be held in Washington, D. C. between Christmas and the New Year

All non-professional choral groups are invited to audition for participation. Two massed choral per­ formances will be rehearsed and conducted by Dr. Samuel Adler, Professor, composer, conductor and recipient of three nominations for the Pulitzer Prize. Samuel Adler is Professor of Composition at Eastman School of Music. Artistic Director of JUBILEE is Alexander Dashnaw who will also rehearse and conduct the massed choral performances. Mr. Dashnaw is Director of Choral Organizations at C. W. Post College, Long Island University, and his choirs have performed at the National Convention of the A.C.D.A. and in Europe and Mexico.

Four days, three nights at the Marriott Twin Bridges Motor Hotel. Two meals daily. Adjudication by prominent musicians approved by International Festivals in addition to massed choral rehearsals and performances. Selected sites for massed performances J. F. Kennedy Center for the Performing Arts and at one of the largest churches in Washington, D. C. Price also includes ample sightseeing of major points of interest. $79.00 per person (transportation not included).

FOR MORE INFORMATION PLEASE CONTACT: Performing Arts Abroad Mailing Address: P. O. Box 844, Kalamazoo, MI 49005 Office location: 8013 Church St., Kalamazoo, MI 49083 Tel: 616-381-0200

OCTOBER 1976 1& Another joyful participation event was ACDA Bicentennial Celebration the singing of music from the Sacred Harp under Hugh McGraw, Sacred Harp HAROLD A. DECKER vised three student sessions which in­ leader. This fol,lowed a beautiful, heart­ volved the younger conductors in two rending performance of Salli Terri's A report on the Bicentennial Celebra­ rap sessions and a conducting workshop. "Shaker Worship Service" by the Oak­ tion must begin with enthusiastic words land University Choir with Leonard Van The Bicentennial Chorus, organized of appreciation for all who contributed Camp as narrator. Dr. Van Camp sup­ and supervised by Guy Webb, Sonya countless hours to its preparation. This plied interesting and informative com­ Garfinkle, Janet Yamron and Clarence includes the superb faculty, the national ments concerning this effective work. and state officers, the Bicentennial Cho­ Miller was such a fantastic choral group that many were disappointed in not hear­ Each evening those who attended the rus, the Reading Chorus and, above all. Celebration were treated to concerts by the Bicentennial Committee members wh~ ing them sing a Berlioz or a Verdi Requiem where the mighty sonority of outstanding choral ensembles. On Mon­ gave two years of their time and talent day came the Bulmershe Girl's Choir in preparation and worked so diligently their voices would have been another thrill. They climaxed a week of musical from Reading, England under Gwyn Arch to make the Celebration run smoothly. and his associates. Their lovely tone The focus of the Celebration was cen­ activity with their role in the exciting final concert. quality and· impeccable English diction tered on the American Music Sessions was a delight to hear. Tuesday brought under Dr. Charles Hamm. noted authority Enthusiastic response and total involve­ the Hampton Institute Concert Choir on American music. He and his able ment was given by all to the daily "Li­ under Roland M. Carter which featured conductors made history come alive at berty Bell" song sessions conducted by several generations of music by black each session and those who attended paid Dr. Charles Rirt. Repertory for these composers. tribute to their excellence by turning out sessions was taken from an outstanding Wednesday evening everyone was deep­ full force at each session even to the collection of American choral music by ly impressed with the musicality and very last day. The conductors for the the same name compiled by Dr. James dedication of nearly eighty children from ten sessions were Salli Terri, Robert G. Smith, editor of the Da Capo column the Glen Ellyn Children's Choir under de Cormier, Iva Dee Hiatt. Gregg Smith in The Choral Journal. Many of Dr. their conductor, Doreen Rao. They fea­ and Frank Pooler. We appreciated their Rirt's former students as well as Singing tured music by contemporary American ~pirit as much as their expertise. City's Dr. Elaine Brown and Sonya Gar­ composers. Thursday brought the profes­ Two well-attended, thought-provoking finkle also contributed their talents to sional choir of Gregg Smith. The Gregg open meetings on timely subjects were these sessions. Dr. William Schnell was Smith Singers delighted the audience led by Dr. Elaine Brown and Gregg the able accompanist for these "sings" as with American music of all periods from Smith. Bruce Browne, leader of the well as for the American Music Sessions colonial times to the present day. ACDA student chapter activities. super- twice each day. One of the most stimulating opportuni­ ties at the Celebration was to meet and ___...... '7\ TCf1A' speak with visiting foreign conductors ..- ../ \l C rv J{orl Advent-Chrfstmas-Epfphany...... _ ...... from all over the world. These men are all outstanding conductors selected by Large choral work their governments to represent their Magnificat Leonardo Leo/Richard Bloesch country's highest attainment in choral SATB, continuo, 2 violins, Latin and English texts. music. England, Sweden, Norway, Ger­ many, and France represented Western Complete score 1.50 Instrumental parts 3.00 Europe. Conductors from Poland and Concert series Esthonia were here from East Europe in Alleluia for Advent Robert Scholz Double SATB 3502 .35 addition to those from New Zealand and South America. All of these men were Magnificat Henry Purcell/J. Kleinsasser SSATB 0550 .50 enthusiastic about the program and were Now Begin on Christmas Day Ronald Arnatt SATB 0554 .35 especially pleased to be able to meet and Anthems for SATB converse informally with American choral Infant Christus Cassler 1737 .45 conductors. There Is a Rose Young 1743 .30 The most unique and exciting item on All Poor Men and Humble P. Christiansen 1744 .35 the week's agenda had to be the prepara­ Be Ye Joyful Sateren 1746 .40 tion and execution of ACDA's commis­ sioned work for the Bicentennial Cele­ Once in Royal David's City Proulx w/Hute 1754 .40 bration: American Cantata. by Lukas As I Was A-Walking Healey 1764 .35 Foss. Mr. Foss' marvellous work with Anthems for unison the chorus produced an enthusiastic re­ I Wonder As I Wander Van w/ guitar 0324 .35 sponse from the singers at every rehearsal Bright and Glorious Is the Sky Melby w/Hute 0921 .40 as well as at the final performance. This Christmas Bells Are Ringing and Jesus Was Just a Baby Leaf effective cantata combines a text drawn w/instrument 1777 .35 together from America's history and from contemporary American life by Arieh When Ma.ry Saw Her Baby Wyton (or 2-part) 1801 .35 Sachs with music extending from folk Little Child on the Straw Lovelace 1738 .30 song and rock idioms to the most esoteric contemporary musical concepts. The emo­ 426 S. 5th St., Minneapolis, MN 55415 tional range spreads from youthful love 57 E. Main St., Columbus, OH 43215 lyrics to a rhythmic dialogue concerned 3224 Beverly Blvd., Los Angeles, CA 90057 2001 3rd Ave., Seattle, WA 98121 with today's ecology and pollution prob­ lems. The overall effect is totally Ameri-

20 THE CHORAL JOURNAL can and the audience of over 4000 persons joys of that week are now rededicated mutual goal of musical understanding­ responded with a standing ovation at the to the wonder and power of choral music, and a genuine love of music-making im­ close of the performance which continued Finally, we cannot leave our thoughts mediately. with enthusiastic applause for nearly of the Celebration without feeling a deep I personally hope that similar, perhaps twenty minutes. sense of appreciation to the National Mu­ less pretentious, study-weeks during sum­ Those who attended the Bicentennial sic Camp, its officers, its faculty and the mers will eventually become a regular Celebration at Interlochen were impressed dedicated men and women who year after part of the on-going program of ACDA. with the high quality of the week's pro­ year make its existence possible. Roger Expenses could be lessened considerably gram. Over five hundred ACDA members Jacobi and George Wilson with their with the omission of a guest-chorus and with their wives and families and repre­ able assistants Noel and Steve Winning a commissioned work and there would sentative singers from ACDA choirs in were a source of aid and understanding be accommodations for all at the National every state of our union gathered together from the inception of the joint enterprise Music Camp - a glorious location to en­ with foreign American choral music for to its fulfillment. The entire staff and joy lovely surroundings and music at the an entire week. They participated in cele­ facilities of the beautiful. new, air-condi­ same time. brating America's yesterday, today and tioned Corson Center for the Performing We were fortunate indeed to have had perhaps even tomorrow in a very unique Arts was made available to ACDA for the officers in ACDA who had faith in and special way. Those members who the week. Most of all. the N.M.C. staff this wedding of Interlochen's ideal musi­ could not be there in person celebrated as well as the students themselves were cal facilities to ACDA's Bicentennial in spirit and all who participated in the ~o cordial and friendly that we sensed a Celebration. t·:

Pictured aboYe (left to right): Harold A. Decker confers with Gregg Smith on his arrival at the National Music Camp; Guy Webb, chairperson of the Bicentennial chorus and assistant conductor with Lukas Foss at rehearsal; Karle Erickson, Gustav G. Ernesaks of Estonia, USSR, with Morris D. Hayes, Bicentennial co-chairperson; Elaine Brown, center, confers with H. Royce Saltzman, Janet Yamron and Sonya Garfinkle; and Gregg Smith and wife, Rosalind Rees, in conference with Ben Frasso of G. Schirmer following an American Music session. Pictwes by G. Stanley Custer of Marshfield, Wisconsin.

OCTOBER 1976 21 spezzati style ... the male and female voices are by no means narrators in American Cantata and the the work; with computer efficiency, they become woven into the total fabric of sound, adding humor and drama to the Bicentennial Chorus musical effect ... their use of bull horns, difficult to coordinate in a per­ GUY B. WEBB The cantata is in five contrasting move­ formance, results in a unique effect, a ments for double chorus, orchestra, tenor sterile, removed sound ... there are and soprano soloists, and three spoken The Bicentennial Chorus, now history, very dramatic moments in the work, voices. Any comment I can make on the especially in the final "Trial and Error" remains an unforgetable experience. It work is from rather close range, so to was a week of learning and a musical movement ... humor with the come­ speak; I was absorbed during the week dians in the "Money" movement ... experience with a masterful condu'ctor with a myriad of performance details, and composer, Lukas Foss, and outstand­ texture and rhythm are two terms which rehearsals, and conducting the chorus in might be said to dominate the work ... ing choral musicians from all over the Mr. Foss' absence. In-depth analysis of United states as well as several foreign the climax of the final choral moment the work will be left to others on re­ with the conductor deciding on the num­ countries. To attempt to record all that peated hearings. My foremost comment took place in the week at Interlochen ber of repetitions is stunning. is that I believe it is an important new It should be reported that the effect is an impossible task. It was a very choral work which choral conductors, successful week, one I wish all ACDA of the premiere performance was pos­ members could have had the opportunity who have the orchestral forces at hand, sibly marre.d by several factors, among will find a challenge to perform and a of attending. them the acoustic balance of soloists, The first rehearsal on Monday removed rewarding experience for the performers voices, rock percussion and guitar sec­ any doubts it would be a truly outstand­ and audience. It has something to say tion in the mammoth Kresge pavilion. ing chorus. Each of the fifty states was and reflects the honesty and integrity of To coordinate all rehearsals of the can­ represented; only two out of the selected Mr. Foss as a composer. The work's tata and Beethoven's Fifth Symphony, 184 singers (a few states did not send main impetus is the setting of the text, also on the Saturday night program, full quartets) were unable to attend, an assembled by Arieh Sachs and Mr. Foss within a week's time proved to be a amazing feat considering the distances from several sources, within a constant herculean task. It was a tremendous job involved. Full quartets from Hawaii and shifting of texture and style. Although for the National Music Camp staff to Alaska were present, and all came with it is a collection of several styles, as coordinate the concert within the busy great expectation of a great musical the composer admitted before the Mon­ camp schedttle of over two thousand experience. They were not disappointed. day night sessions of the Celebration campers, and they deserve much credit. Mr. Foss was clearly pleased with the (he also stated it was his most important I would like to express appreciation to chorus from the beginning, and we set compositional effort to date!), it is not each member of the chorus who, through a goal of working hard the first few at all an eclectic work; it stands on its much personal sacrifice and expense, days in order to be ready for the first own in what in many ways I would made the trip to Interlochen. To Mr. rehearsal with the orchestra on Thurs­ call "unique" or "new". It is a serious Foss who was an inspiration to work day morning. Rehearsals were scheduled work of art with a cohesion of text with during the week and was most out of necessity at 7:00 a.m. Tuesday and music - far beyond a mere pano­ gracious to all, both in and without the and Wednesday and even at that hour rama of sound. It is not an easy work rehearsal moments. To the spoken voices it was a glorious sound! Two section to perform; the rhythms are a challenge. whose names did not appear in the con.:. practices were held, the women drawing The score calls for a tenor voice who is cert program: Lois Miller, female voice; the comfortable confines of Corson Per­ a sound musician Waldie Anderson of John Casey, male voice; and Tom Bank­ forming Arts Center and the men "vying" the National Music Camp staff was su­ hart, the boy's voice. And to the mem­ for the opera tent! The spirit of the perb in the premiere performance. When bers of the chorus committee Janet chorus was nothing short of fantastic; the various forces are brought together Yamron, Sonya Garfinkle, and Clarence there was not a weak section, with 23 and what I would call the "controlled Miller, who were very much involved singers to each section. What anyone aleatoric passages" realized by the con­ with the planning of the chorus for would give to have such a chorus to ductor, the total effect is stunning. The almost two years and the section prac­ work with throughout the year. time of the work is about 40 minutes; tices at Interlochen. When we arrived at the National Music it is published by Salabert. For myself, the experience of corres­ Camp we felt that we were not only in Some random comments on the score ponding with state presidents, working a very beautiful place for music to hap­ ... the influence of Ives is apparent with tne excellent musicians of the pen but that we would be part of an in certain compositional techniques and chorus, and the week at Interlochen with important musical happening, the pre­ use of well-known tunes, as in the fourth Mr. Foss was reward enough. The Amer­ miere performance of "American Can­ movement ... the second movement ican Choral Director's Association can tata", composed by Mr. Foss for the reflects on Ernst Toch and his work be very proud of the result. The concept Celebration. Each singer was thoroughly with the rhythm of speech sounds ... of a truly national chorus in connection prepared with the notes - the music the chorus is required to make decisions with an in-depth study of one aspect of had been sent out a month in advance on its own in changing from audibility choral music American choral music - but from the choral score alone they to inaudibility within gaps of the spoken - was exciting and very rewarding. had little concept of what to expect. word ... the emotional peak of the HopefUlly we can explore other oppor­ The work very definitely grew on us work is reached with the voice of the tunities in the future for the Interlochen as the week progressed. When all of young boy who is writing a final letter formula of a seminar mixed with rich the parts were fit together at the first to his father; the voice is superimposed performing experiences. Thanks to Har­ orchestra rehearsal - the moving lyric electronically over the total forces at a old Decker and Morris Hayes and the and dramatic elements juxtaposed with very moving moment ... the romantic entire ACDA Executive Committee for the jubilant rock sounds ... the soloists "Love" movement combines aleatoric making this week possible. :.: and the spoken voices rasping rhythms of the chorus in clusters of through bull horns from either side of tones which are ingeniously welded over the stage - we were convinced of the the lyric tenor solo, a solo harmonica, work. It is a very moving piece. and followed by lush chords in coli Dr. Thomas Ferguson, Director of Jazz Studies at Memphis, Tennessee, State University is the new President of the National Association of Jazz Educators. Theron Kirk President-Elect is Joel Leach, Cal State University, Northridge, California; Vice­ President is Ray Wright, Eastman School NOEL of Music, Rochester, N.Y.; and Secretary­ Treasurer is Dr. Warrick L. Carter, Gov­ Christmas Cantata for Narrator ernors State University, Park Forest South, Illinois. Complete information on Mixed Chorus, Organ, Brass and Timpani the organization, its Jazz composition Contest and sample of the NAJE Educa­ Duration: 35' KJOS Park Ridge, III. 60068 tor may be obtained from NAJE, Box 724, Manhattan, Kansas 66502.

22 THE CHORAL dOURNAL LT NT ,_ .T•• -Thena e t rem mberfor all yourtravel!

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OCTOBER 1976 23- The ACDA Standing Committee oll' Jazz and Show Choirs looks to the future JAZZ AND SHOW CHOIR with great enthusiasm. We know the CORNER value of supplementing the solid choral program with new vocal styles, and we cannot help thinking that competent cho­ GENE GRIER ral directors, with proper guidance, will This department is an active extension of the Standing Committee on Vocal enhance their existing programs with this Jazz and Show Choirs. We will attempt to review new musi'c for vocal jazz highly energized music. and show choirs, evaluate other materials suited to our purpose, such as films, We are now beginning a new year, and books and recordings, and in general provide information pertinent to the development and betterment of vocal jazz and show choir programs throughout many of us are faced with problems of the United States. Contributions, suggestions and letters from members of the either finding materials or starting, for teaching profession and music industry will be gladly received by the editor. the first time, a vocal jazz and show All correspondence should be sent to: Mr. Gene Grier, 2955 Lansdowne, Drayton choir. 'If this is your situation, write us, Plains, Michigan 48020. but in the meantime, why not take ad­ vantage of these ideas: 1. Examine dealer and publisher cata­ peared in The Choral- JournalJ "Recom­ Gene Grier is a nationally known au­ mended Music for the Jazz and Show logues, and choose music "on approval" thor, musician and educator. He is pre­ Choir." This article was a partial listing before making musical decisions. One of sently on the faculty of St. Mary's Col­ the finest distributor catalogues in the lege and Preparatory in Orchard Lake, of the hundreds of choral octavos re­ Michigan, and is national chairperson of viewed during the year by our committee. world can be received upon request, free the ACDA National Standing Committee A complete listing of over five hundred of charge. from: ]. W. Pepper, P. O. Box on Vocal Jazz and Show Choirs. He is titles \vas also made available to the 850, Valley Forge, PA 19482. also chairman of the Music Teaching­ 2. Purchase and read the best book Industry Committee of the Michigan Mu­ general membership. sic Educators Association. During the summer of 1976, John A. on jazz and .. show choirs available. This His textbooks on rock music are used Smith resigned as chairperson of the book tells it all in an easy, straightfor­ throughout the United States, and his ward way, and wiII help every director new choral series will be released in the committee, but agreed to assist in an spring of 1977. advisory capacity. The chair position was "get it together." The Swing and Show Gene is founder and director of a unique then delegated to myself, Gene Grier. Choir and Vocal Jazz En.semble Ha.11d­ choral ensemble called the Consort, which Upon acceptance of this position. Russell book by Doug Anderson - First Place is dedicated to the making of beautiful Music Publications, Inc., 12754 Ventura music. Their next album will be released Mathis and myself immediately began to this month. charge ahead for the coming year. We Blvd., Studio City, Calif. 9160'4. feel the tremendous need for more open 3. Get your group into the Bert Kono­ communication, resulting in a positive witz Vocal Improvisation Method. This ACDA and The Jazz and outcome in the ever growing field of is a complete course of study that de­ jazz and show choir music. Such posi­ velops vocal improvisation skills in both Show Choir Movement tive results can only occur through active jazz and rock styles. A must for all participation and regular communication senior vocal jazz and show choir direc­ In June of 1975, ACDA voted unani­ between the general membership and this tors. Available through Alfred Music Co., mously to form a standing committee committee. Inc., 75 Channel Drive, Port Washing­ under the umbrella of Standards and With this in mind, the Standing Com­ ton, New York 11050. Repertoire, entitled Jazz and Show mittee on Jazz and Show Choirs proposes 4. The aforementioned list of over five Choirs. Mr. John A. Smith of the Uni­ the following ideas for the 1976-77 vocal hundred- Selected Choral Octavos for versity of Michigan School of Music. year: Jazz. Pop. Rock and Show Choirs, com­ who was instrumental in founding this 1. We want the cooperation and parti­ piled by the ACDA National Committee, committee, was appointed chairperson. cipation of every ACDA member in­ and available from myself for $3.50 plus He immediately set out to appoint a terested in jazz and show choir music. postage. committee of the top people in the jazz We urge you to communicate with us. We hope these ideas will prove helpful. and show choir field. That committee, 2. We will actively strive to keep you Our next column wiII be loaded with while still intact, consists of: Earl Rivers, informed of current trends and new ma­ new ideas and hints, so give us your John M. Clark, Robert Stoll, William V. terials on a regular basis. through our support by writing and help to "Get Estes, Kirby Shaw, Douglas D. Ander­ "Get Down" column. Down" to it. :.: ~on, Dan Schwartz, John A. Smith as 3. We will answer any and all letters Advisor and Gene Grier as Chairperson. personally in regards to problems, con­ Tn April of 1976 our first article ap- As a service to ACDA members in­ cerns, contributions, ideas, etc.. in regards terested in Swing, Show and Jazz to jazz and show choirs. Choirs, the ACDA Show and Jazz Choir Committee will be listing the for Christmas 4. We will add your name to our mail­ workshops available throughout the ing list for our Jazz and Show Choir year and the summer in the April Theron Kirk's Newsletter, which will be published and issue of The Choral Journal. If you NIGHT OF WONDER distributed three times this year. are aware of workshops in swing choir 5. We will be available for clinics and techniques send complete information Mixed Voices to Doug Anderson, 1825 McDonald workshops, or be able to recommend com­ with Lane, McMinnville, OR 97128, who is petent people to do same. compiling this list for the membership. String Orchestra 6. We will strive to compile by the Duration: 25 Minutes end of the year, an ACDA Handbook on Jazz and Show Choir Music. Plan Now To Attend 7. Last but not least, we will be open ACDA NATIONAL CONVENTION to any and all suggestions from the general membership of ACDA. March 10·12, 1977

THE CHORAL JOURNAL The ACDA Standing Committee on Jazz and Show Choirs looks to the future JAZZ AND SHOW CHOIR with great enthusiasm. We know the CORNER value of supplementing the solid choral program with new vocal styles, and we cannot help thinking that competent cho­ GENE GRIER ral directors, with proper guidance, will This department is an active extension of the Standing Committee on Vocal enhance their existing programs with this Jazz and Show Choirs. We will attempt to review new music for vocal jazz highly energized music. and show choirs, evaluate other materials suited to our purpose, such as films, Weare now beginning a new year, and books and recordings, and in general provide information pertinent to the development and betterment of vocal jazz and show choir programs throughout many of us are faced with problems of the United States. Contributions, suggestions and letters from members of the either finding materials or starting, for teaching profession and music industry will be gladly received by the editor. the first time, a vocal jazz and show All correspondence should be sent to: Mr. Gene Grier, 2955 Lansdowne, Drayton choir. 'If this is your situation, write us, Plains, Michigan 48020. but in the meantime, why not take ad­ vantage of these ideas: 1. Examine dealer and publisher cata­ peared in The Choral JounzalJ "Recom­ Gene Grier is a nationally known au­ mended Music for the Jazz and Show logues, and choose music "on approval" thor, musician and educator. He is pre­ Choir." This article was a partial listing before making musical decisions. One of sently on the faculty of St. Mary's Col­ the finest distributor catalogues in the lege and Preparatory in Orchard Lake, of the hundreds of choral octavos re­ Michigan, and is national chairperson of viewed during the year by our committee. world can be received upon request, free the ACDA National Standing Committee A complete listing of over five hundred of charge. from: J. W. Pepper, P. O. Box on Vocal Jazz and Show Choirs. He is titles was also made available to the 850. Valley Forge, PA 19482. also chairman of the Music Teaching­ 2. Purchase and read the best book Industry Committee of the Michigan Mu­ general membership. sic Educators Association. During the summer of 1976, John A. on jazz and show choirs available. This His textbooks on rock music are used Smith resigned as chairperson of the book tells it all .in an easy, straightfor­ throughout the United States, and his ward way. and will help every director new choral series will be released in the committee. but agreed to assist in an spring of 1977. advisory capacity. The chair position was "get it together." The Swing and Show Gene is founder and director of a unique then delegated to myself, Gene Grier. Chot'r and Vocal Ja,zz Ensemble Hand­ choral ensemble called the Consort, which book by Doug Anderson - First Place is dedicated to the making of beautiful Upon acceptance of this position, Russell music. Their next album will be released Mathis and myself immediately began to Music Publications, Inc., 12754 Ventura this month. charge ahead for the coming year. We Blvd., Studio City, Calif. 91604. feel the tremendous need for more open 3. Get your group into the Bert K ono­ communication, resulting in a positive witz Vocal Improvisation Method. This ACDA and The Jazz and outcome in the ever growing field of is a complete course of study that de­ jazz and show choir music. Such posi­ velops vocal improvisation skills in both Show Choir Movement tive results can only occur through active jazz and rock styles. A must for all participation and regular communication senior vocal jazz and show choir direc­ In June of 1975, ACDA voted unani­ between the general membership and this tors. Available through Alfred Music Co., mously to form a standing committee committee. Inc., 75 Channel Drive, Port Washing­ under the umbrella of Standards and With this in mind. the Standing Com­ ton. New York 11050. Repertoire, entitled Jazz and Show mittee on Jazz and Show Choirs proposes 4. The aforementioned list of over five Choirs. Mr. John A. Smith of the Uni­ the following ideas for the 1976-77 vocal hundred· Selected Choral Octavos for versity of Michigan School of Music, year: Jazz. Pop. Rock and Show Choirs. com­ who was instrumental in founding this 1. We want the cooperation and parti­ piled by the ACDA National Committee, committee, was appointed chairperson. cipation of every ACDA member in­ and available from myself for $3.50 plus He immediately set out to appoint a terested in jazz and show choir music. postage. committee of the top people in the jazz We un;e you to communicate with us. We hope these ideas will prove helpful. and show choir field. That committee, 2. We will actively strive to keep you Our next column will be loaded with while still intact, ,consists of: Earl Rivers, informed of current trends and new ma­ new ideas and hints. so give us your John M. Clark, Robert Stoll, William V. terials on a regular basis. through our support by writing and help to "Get Estes, Kirby Shaw, Douglas D. Ander­ "Get Down" column. Down" to it. :.: +;on, Dan Schwartz, John A. Smith as 3. We will answer any and all letters Advisor and Gene Grier as Chairperson. personally in regards to problems, con­ In April of 1976 our first article ap- As a service to ACDA members in­ cerns, contributions, ideas, etc., in regards terested in Swing, Show and Jazz to jazz and show choirs. Choirs, the ACDA Show and Jazz 4. We will add your name to our mail­ Choir Committee will be listing the for Christmas workshops available throughout the ing list for our Jazz and Show Choir year and the summer in the April Theron Ki rk's Newsletter, which will be published and issue of The Choral Journal. If you NIGHT OF WONDER distributed three times this year. are aware of workshops in swing choir 5. We will be available for clinics and techniques send complete information Mixed Voices to Doug Anderson, 1825 McDonald with workshops, or be able to recommend com­ Lane, McMinnville, OR 97128, who is String Orchestra petent people to do same. compiling this list for the membership. 6. We will strive to compile by the Duration: 25 Minutes end of the year, an ACDA Handbook on Jazz and Show Choir Music. Plan Now To Attend 7. Last but not least, we will be open to any and all suggestions from the ACDA NATIONAL CONVENTION general membership of ACDA. March 10-12, 1977

24 THE CHORAL JOURNAL ~:I

and if "Coal-black Rose," "Zip Coon" and "Ole Virginny nebber tire" have been succeeded by spurious imitations, manufactured to suit the somewhat senti­ mental taste of our community, the fact that these were called "negro melodies" was itself a tribute to the musical genius JAMES G. Sl\fiTH of the race.* The public had well-nigh forgotten This department consists of reprints of articles from other periodicals and excerpts from previously published literature about choral music. The these genuine slave songs.. and with them c~oice o.f materi~ls to. be reprinted is based on the editor's judgment of what the creative power from which they will be mformative, interesting, amusing, or provocative to the readers of the sprung, when a fresh interest was excited Choral Journal. Suggestions for future selections and letters of comment will through the educational mission to the be welcomed by the editor. They should be sent to Dr. James G. Smith, S'chool Port Royal islands, in 1861. The agents of Music, University of Illinois, Urbana, Illinois 61801. of this mission were not long in dis­ covering the rich vein of music that Editor~s Note as it was found before, and apart from, existed in these half-barbarous people, During the course of the nineteenth its contact with genteel art music. During and when visitors from the North were century, there developed an increasing the last three decades of the nineteenth on the islands, there was nothing that awareness of the music culture possessed century, there appeared in popular and seemed better worth their while than to by the American Negro. The existence scholarly journals a number of a:rticles see a "shout" or hear the "people" sing in which the singing of unsophisticated their "sperichils." A few of these last of an indigenous Negro music was first fa~ recognized as a result of the blackface Southern Negroes was described, and at of special merit, ... soon became entertainments which began to be popular an almost incredibly early date of 1867, vorites among the whites, and hardly a as early as the 1820"s; however, the the first coUection of field transcriptions Sunday passed at the church on St. general conception fostered by blackface of Negro music appeared under the title Helena without "GabrIel's Trumpet," "I minstrelsy was a seriously limited and Sla~'e Songs of the United States. hear from Heaven to-day," or "Jehovah distorted one, for the secular minstrel­ Slave Songs} despite later criticism of Hallelujah." The last time I myself heard show songs, although often modeled on its scholarly shortcomings, stands as an these was at the Fourth of July celebra­ so-called plantations melodies, were pro­ important pioneer effort in a field which tion, at the church, in 1864. All of them duced almost entirely by white composers was, at the time of its publication, virgin were sung, and then the glorious shout, and performers. It was therefore of de­ territory. In addition to its 135 musical "I can't stay behind, my Lord," was struck up, and sung by the entire multi­ cisive importance to the achievement of transcriptions, it possesses a preface by tude with a zest and spirit, a swaying a fuller understanding of Negro music William Francis Allen which is a par­ of the bodies and nodding of the heads when, just after the Civil War, the sacred ticularly important document in the early and lighting of the countenances and music of the Negro was introduced to history of the 'spiritual. Allen's preface, rhythmical movement of the hands which the white community. excerpts from which are reprinted in this I think no one present will ever'forget. Negro spirituals, as they were called month's Da Capo column, contains first­ from the outset, attained almost imme­ hand accounts which vividly describe the * * * diately that popularity which they con­ Negro spiritual and its performance in The difficulty experienced in attaining tinue to enjoy 'at the present time. It is what can be called its primitive state. absolute correctness [in making musical not always sufficiently well recognized, The source of the following material transcriptions of Negro music] is great­ however, to what extent the spiritual's is Slave Songs of the United States} er than might be supposed by those who popularity has been purchased at the price compiled and edited by William Francis have never tried the experiment, and we of assimilation into the forms and tech­ Allen, Charles Pickard Ware, and Lucy are far from claiming that we have made niques of European art music. Shortly McKim Garrison (New York: A. Simp­ no mistakes. I have never felt quite sure after the Civil War, the spirituals, es­ son & Co., 1867), pop. ii-xix. Asterisks of my nota'tion without a fresh compari- refer to footnotes found in the source' sentially monophonic in their original numeri~ state, were harmonized along orthodox editorial footnotes are designated lines for performance before genteel audi­ cally. Brackets in the penultimate para­ ences by touring Negro choirs from such graph of the text are found in the source' newly founded freedmen's schools as Fisk all other bracketed material is editoriall; University and the Hampton and Tuske­ supplied. gee Institutes. These early and simple harmonizations were published for the use from the PREFACE to of white singers; eventually they were succeeded by elaborate and ingenious art­ SlAVE SONGS OF music arrangements which became an al­ THE UNITED STATES most indispensable part of the repertoire of choirs and glee clubs throughout Amer­ WILLIAM FRANCIS ALLEN ica. But while it contributed greatly to the The musical capacity of the negro race spiritual's popularity, assimilation also has been recognized for so many years had the effect of obscuring some of the that it is hard to explain why no syste­ fundamental characteristics of the original matic effort has hitherto been made to material. It is noteworthy, therefore, that collect and preserve their melodies. More even as the process of assimilation was than thirty years ago those plantation just getting under way, there existed a songs made their appearance which were counterbalancing interest in the spiritual so extraordinarily popular for a while;

OCTOBER 1976 2& DA CAPO ... stops, leaving the rest of his words to of familiar tunes are readily traced; and be guessed at, or it may be they are taken it may easily be that others contain son with the singing, and have then often up by one of the other singers. And the strains of less familiar music, which the found that I had made some errors. I feel "basel'S" themselves seem.to follow their slaves heard their masters sing or confident, however, that there are no own whims, beginning when they please play.. mistakes of importance. What may ap­ and leaving off when they please,. strik­ pear to some to be an incorrect render­ ing an octave above or below (in case * * * ing, is very likely to be a variation; for they have pitched the tune too low or The most peculiar and interesting of these variations are endless. and very too high), or hi

26 THE CHORAL JOURNAL shouters, stand at the side of the room sing, myself, once. swamps. On the other hand, the words to 'base' the others, singing the body of "My dream was fulfilled, and I had breathe a trusting faith in rest for the the song and clapping their hands to­ traced out, not the poem alone, but the future - in 'Canaan's air and happy gether or on the knees. Song and dance poet. I implored him to proceed. land,' to which their eyes seem con­ are alike extremely energetic, and often, "'Once we boys,' he said, 'went for stantly turned." (3) when the shout lasts into the middle of tote some rice, and de nigger-driver, he FOOTNOTES the night, the monotonous thud, thud of keep a-callin' on us; and I say, '0, de *It is not generally known that the the feet prevents sleep within half a mile ole nigger-driver!' Den anudder said, beautiful air "Long time ago," or "Near of the praise-house." 'Fust ting my mammy told me was, notin' the lake where drooped the willow," was In the form here described, the "shout" so bad as nigger-drivers.' Den I made a borrowed from the negroes, by whom it is probably confined to South Carolina sing, just puttin' a word, and den anudder was sung to words beginning, "Way down in Raccoon Hollow." [For a discussion and the States south of it. It appears to word.' of the Negro genesis of "Long Time Ago" be found in Florida, but not in North "Then he began singing, and the men, and also the other minstrel-show songs Carolina or Virginia. It is, however, an after listening a moment, joined in the mentioned here, see Gilbert Chase, Amer­ ica's Music from the Pilgrims to the interesting fact that the term "shouting" chorus as if it were an old acquaintance, Present (rev. 2d ed.; New York: McGraw­ is used in Virginia in reference to a though they evidently had never heard Hill, 1966), pp. 278-80 et passim.] peculiar motion of the body not wholly it before. I saw how easily a new 'sing' **"The high voices, all in unison, and unlike the Carolina shouting. It is not took root among them." (2) the admirable time and true accent with which their responses are made, always unlikely that this remarkable religious A not inconsistent explanation is that make me wish that some great musical ceremony is a relic of some native Afri­ given on page 12 of an "Address de­ composer could hear these semi-savage can dance, as the Romaika is of the livered by ]. Miller M,cKim. in Sansom performances. With a very little skillful classical Pyrrhic. Dancing in the usual Hall, Philadelphia, July 9, 1862." adaptation and instrumentation, I think one or two barbaric chants and choruses way is regarded with great horror by "I asked one of these blacks - one might be evoked from them that would the people of Port Royal, but they enter of the most intelligent of them make the fortune of an opera." - Mrs. with infinite zest into the movements of - where they got these songs. 'Dey [Frances Anne] Kemble's "[Journal of the "shout." It has its connoisseurs, too. a] Life [i.e., Residence on a Georgian make 'em. sah.' 'How do they make Plantation [in 1838-1839]" [New York: "Jimmy great shouter," I was told; and them?' After a pause. evidently casting Harper & Brothers, 1863], p. 218. Jimmy himself remarked to me, as he about for an explanation. he said: 'I'll 1. Quoted from Lucy McKim, Letter to looked pa,tronizingly on a ring of young tell you, it's dis way. My master call John S. Dwight in "Songs of the Port people, "Dese yere worry deyseff - we Royal 'Contrabands,''' Dwight's Journal me up, and order me a short peck of of Music, XXII (November 8, 1862), p. don't worry weseff." And indeed, al­ corn and a hundred lash. My friends see 255. though the perspiration streamed copi­ it, and is sorry for me. When dey come 2. Quoted from Thomas Wentworth ously down his shiny face, he shuffled to de praise-meeting dat night dey sing Higginson, "Negro Spirituals," Atlantic round the circle with great ease and Monthly, XIX (June, 1867), p. 692. about it. Some's very good singers and 3. Quoted from Lucy McKim, op. cit. grace. know how; and dey work it in - work t·: The shouting may be to any tune, and it in, you know, till they get it right; perhaps all the Port Royal hymns ... and dat's de way.' A very satisfactory are occasionally used for this purpose; explanation; at least so it seemed to me." JOURNAL ARTICLE so that our cook's classification into We were not so fortunate as Col. Submit all articles (2 copies) for The "sperichils" and "runnin' sperichils" Higginson in our search for a poet. Cuf­ Choral Journal to Louis H. Diercks, (shouts), or the designation of certain fee at Pine Grove did. to be sure, confess Chairman, Editorial Board, Rt. 2, Box 29, ones as sung "just sittin' round, you himself the author of "Climb Jacob's West Finley, PA 15377. See Guidelines in know," will hardly hold in strictness. In Ladder;" - unfortunately, we afterwards the February 1976 Choral Journal. practice, however, a distinction is gen­ found it in a Northern hymn book. And erally observed. ... So far as I can -***- if you try to trace out a new song. and Dr. Harvey E. Maier has retired from learn, the shouting is confined to the ask. "Where did you hear that?" the teaching after 47 years as supervisor of Baptists; and it is, no doubt, to the answer will be, "One strange man come music, chairman of music departments overwhelming preponderance of this de­ from Eding's las' praise-night and sing and for the past eight years Professor nomination on the Sea Islands that we of Music Education at the University of 'em in praise-house. and de people catch Missouri at Kansas City. Dr. Maier was owe the peculiar richness and originality 'em ;" or "Titty 'Mitta [sister Amaritta] Secretary-Treasurer of the American Cho­ of the music there. fetch 'em from Polawana, where she tuk ral Directors Association for twelve years. her walk gone spend Sunday. Some of He and his wife, lola, will continue to ** • reside at 8332 Ensley Lane, Leawood, As to the composition of these songs, her fahmly sing 'em yonder." "But what KS 66206. "I always wondered," says Col. Higgin­ does 'Ringy rosy land' [Ring Jerusalem son, "whether they had always a con­ .. .] mean?" "Me dunno." -***- Cleveland State University has an­ scious and definite origin in some leading Our title, "Slave Songs," was selected nounced the appointment of Ernest L. mind, or whether they grew by gradual because it best described the contents of Hisey as director of choral music. Hisey accretion, in an almost unconscious way. the book. A few of those here given ... is director of musical activities at Lo­ were, to be sure, composed since the rain County Community College and has On this point I could get no information, been head of the High School choral though I asked many questions, until at proclamation of emancipation, but even department of Avon Lake public schools last, one day when I was being rowed these were inspired by slavery. "All, in­ since 1959. across from Beaufort to Ladies' Island, deed, are valuable as an expression of I found myself, with delight, on the the character and life of the race which actual trail of a song. One of the oars­ is playing such a conspicuous part in &JEAN BERGER men, a brisk young fellow, not a soldier, our history. The wild, sad strains tell, on being asked for his theory of the as the sufferers themselves could, of 1177 Race - #203 matter, dropped out a coy confession. crushed hopes, keen sorrow, and a dull, Denver, Colorado 80206 'Some good sperituals,' he said, 'are start daily misery, which covered them as (303) 320-6838 jess out 0' curiosity. I been a-raise a hopelessly as the fog from the rice

OCTOBER 1976 21 Two recordings - one from profes­ Stevens' beautiful GO, LOVELY ROSE sional the other from collegiate ranks ­ and LIKE AS A CULVER. Choral are the subject of this month's column. values - diction, intonation, blend, bal­ Both discs are worth noting during this, ance - are within acceptable bounds; ROBERT M. ISGRO, Chmn., Dept. of Music, the bicentennial year for their devotion interpretation and phrasing are handled State U. Coil. of Arts & Sciences, Gen­ eseo, NY 14454 (Head) to American music. Indeed, the profes­ in effectively broad strokes. sional group, the King Chorale from Fort The second recording, from the Carle­ Worth. Texas, "was formed for the pur­ ton (College) Chamber Singers under THE KING CHORALE, GORDON KING, pose of exploring American choral music, William Wells, celebrates the bicentennial DIRECTOR: AMERICAN SONGS especially that written since 1900," and with a potpourri of American music. FOR A CAPPELLA CHOIR. Samuel a hearty amen to that. Judging from his While the mix of original compositions Barber: Reincarnations Mary Hynes; Anthony 0 Daly; The Coolin'; selections. the director, Gordon King, has by Billings, Ives, and others, and ar­ Michael Hennagin; Walking On The not this time around chosen to explore rangements of hymn tunes, spirituals, and Green Grass; Peter Mennin: Crossing very far afield, for his album consists of Stephen Foster melodies does not result The Han River; Daniel Pinkham: rather conservative fare though none­ in a very representative or unified collec­ Henry Was A Worthy King; The Leaf; Piping Anne And Husky Paul; theless beautiful for that. Indeed, high tion of American music, the repertoire is Ned Rorem: Sing My Soul; Halsey school and college directors who are not pleasant enough. Indeed, Wells is to be Stevens: Go, Lovely Rose; Weep 0 familiar with most of the items on King's commended for including, on the other Mine Eyes; Like As A Culver On album might make it a special point to hand, several arrangements by student The Bared Bough; Randall Thomp­ son: Felices Ter; The Paper Reeds; obtain the recording. However, anyone members of the choir and, on the other, Jean Berger: Snake Baked A Hoe­ trying to locate the pieces through pub­ the fine WITTICISMS AND LAMEN­ cake; The Frisco Whale; Vincent lishers' catalogs had better know that TATIONS FROM THE GRAVE­ Persichetti: Agnus Dei; Samuel Ad­ Jean Berger's charming contributions, YARD by his colleague at Carleton, Phil­ ler: A Kiss; Strings In The Earth; John Chorbajian: Bitter For Sweet. especially well suited to young choruses, lip Rhodes. Unfortunately, the latter Orion Master Recordings ORS 75205. are from a single octavo entitled FIVE needs a printed te.xt, since texture, tempo, CANZONETS. published by Alexander and, perhaps, less usual words conspire THE CARLETON CHAMBER SINGERS, Broude; and since composer and title to make it difficult to understand the WILLIAM WELLS, DIRECTOR, CELEBRATE THE AMERICAN BI­ are nowhere listed together. it might also text. The arrangements, mainly of Ste­ CENTENNIAL. William Billings: The be useful to know that Peter Mennin phen Foster, do not. of course, come out Lord Is Ris1n Indeed; Charles Ives: wrote CROSSING THE HAN RIVER. much like Stephen Foster, though when Serenity; Phillip Rhodes: Witticisms (Orion, while admirably printing full as much good natured fun is generated as And Lamentations From The Grave­ yard - Five Epitaphs For Chorus; texts for all compositions, could stand to with John Dawson's 0 SUSANNA Conrad Susa: Chamber Music - Six use much greater care in label informa­ (complete with banj0, guitar, and bass) Joyce Songs; arr. Virgil Thompson: tion and liner notes. ) For the most part who's to complain? Death 'Tis A Melancholy Day; arr. the fifteen voices of the King Chorale Listeners are also likely to be enthralled William L. Dawson: Ain'-a That Good News; arr. William Wells: Mary Had give respectable performances. though with Conrad Susa's CHAMBER MU­ A Baby; arr. Lawrence Henry, Wil­ the demands of Barber's gorgeous RE­ SIC: SIX JOYCE SONGS, a fresh, liam Wells, Phillip Rhodes, Christine INCARNATIONS cannot - in the lyrical, and welcome addition to the Nonemaker, John Dawson: Songs By opinion of this reviewer - be met by so choral repertoire. Awarded the Juilliard Stephen Foster - Jeanie With The Light Brown Hair; The Glendy Burk; few voices. Most effective singing occurs School of Music's Gretchaninoff Prize Beautiful Dreamer; My Old Kentucky on Pinkham's HENRY WAS A WOR­ in 1959, and revised in 1969, these pieces Home; Old Doy Tray; 0 Susanna. THY KING and THE LEAF. and range from the ecstatic to the vigorous to the serene, aptly and effectively con­ trasting moods and musical materials in a beautifully unified suite - highly re­ S.A.T.B. Choral Music by: commended for any good chorus with a fine accompanist available. Most of the disc appears to derive from live performance. so while the sing­ JERRY WESELEY HARRIS ing is not precisely flawless. it is spirited A CA.RROLL Lawson-Gould #51122 25c and robust throughout. Like the King album greater attention could have been ALL MY HEART TODAY REJOICES Flammer #A-55681 30c given to album production; it would have BE STRONG IN THE LORD Pallma Music #PL7 95c been, shall we say, neater if the listing CHRIST OUR LORD IS RISEN Boston Music # 13571 25c of repertoire on recording and album CLAP YOUR HANDS, YE PEOPLE Kjos Music #Ed5916 40c cover could have coincided. The King Chorale album can be pur­ GLORY TO GOD ON HIGH Boston Music #3097 25c chased through record stores or directly HOSANNA TO THE SON OF DAVID Flammer #A-5597 30c from Orion Records, 5840 Busch Drive, LIKE AS THE CULVER Lawson-Gould #51578 30c Malibu, California 90265 ($5.00 prepaid) ; LO, IN THE TIME APPOINTED Lawson-Gould #51494 35c the Carleton Chamber Singers album is o GOD, HOW WONDERFUL ART THOU Boston Music # 12796 20c available from the Music Department, Carleton College, Northfield, Minnesota RISE UP MY LOVE, MY FAIR ONE Pallma Music #PC777 25c 55057 ($4.50 postage included). THE EARTH IS THE LORD'S Pallma Music #PC784 35c -Robert M. Isgro Choral directors desirous of having their recordings listed or reviewed are These selections and others by Jerry Weseley Harris encouraged to send them to Robert M. Isgro, Music Department, State Univer­ may be purchased at your local retail music store. sity College of Arts and Science, Geneseo, New York 14454 :.:

28 THE CHORAL JOURNAL NOMINEES FOR PRESIDENT

ALFRED'S NEW CHORAL MUSIC

~ ~lfiiCls NEW @HlmR:t\~ MWSI@

JANE S. HARDESTER H. ROYCE SALTZMAN

Dr. Jane Skinner Hardester, past ACDA Dr. H. Royce Saltzman is Associate Western Division President, received her Dean of the School of Music and Pro­ B.A. degree from the University of the fessor of Choral Music at the University Pacific in Stockton, California. She be­ of Oregon at Eugene, where he has been gan her teaching career at a junior high on the faculty since 1964. He previously UNISON school in EI Monte and then taught taught at Messiah and Upland Colleges Song of the States eight years in the EI Monte High School and the University of Southern California district. where he was assistant to Dr. Charles SA Subsequen~ly Hirt. His B.A. degree is from Goshen, she earned her M.M. de­ Salute to the U.S.A. gree at the University of Southern Cali­ Indiana, College, his M.Mus. from North­ fornia where she served on the faculty western University, Evanston, Illinois, Do You Believe in Santa Claus? for 21,6 years. After spending a year on and Doctor of Music Arts from the Uni­ Christmas Isn't Christmas the staff of Singing City in Philadelphia, versity of Southern California. Without Santa she joined the music faculty at EI Camino In 1968-69, Professor Saltzman served, College in the Los Angeles area where as director of the German Center for SA-SSA-SAB-SATB she has been teaching since 1962 and International Music Education at Lud­ where she has developed a choral pro­ wigsburg and was visiting Professor at All You People, Clap Your Hands gram that has been widely recognized the center during 1972. He was guest Yes, It's Christmas Time Again for its excellence. lecturer at the Choral workshop in Ca~lw, Little Baby Boy This past June she was awarded her Germany, in May, 1972. Guest lecturer doctorate magnum cum laude from the in San Jose, Costa Rica in 1973, he SSA/SA - SATB/SAB toured Central America the following University of Southern California at Holiday Spirit which time she was voted by the faculty year with the University of Oregon Con­ of the School of Music as the most out­ cert Choir. standing graduate of 1976. A charter He founded and presently serves as SATB member of ACDA, Dr. Hardester has coordinator of the Summer Festival of Alone and Blue been active in the organization since its Music at the University of Oregon at Bright Lights inception. She first served as member­ Eugene, featuring Helmuth Rilling of Doin' Your Own Thing at-large on the National Board of Direc­ Stuttgart, Germany, as Musical Conduc­ tors in 1967 and has recently completed tor. In 1976 he was awarded a Research I Know Joy her term as Western Division President. Fellowship by the Humboldt Foundation Images of Love She is currently the Program Chairper­ for study here and in Western Germany. Lost Tomorrow son for the 1977 National ACDA Con­ President of the ACDA Northwest Divi­ Let Your Love Flow vention at Dallas. She is active in all sion from 1973-76, he presently serves as The Quality of Mercy phases of choral music as guest conduc­ National Chairman for the Dallas ACDA tor and adjudicator, and her groups have National Convention to be held March You'll Never Walk Alone appeared at both national and divisional 10-12, 1977. :.: ACDA and MENC conventions. :.: AVAILABLE AT YOUR LOCAL SCHOOL MUSIC DEALER Phi Mu Epsilon Memorial Foundation Omnisound Inc. of Delaware Water Gap, announces its sterling Staff International Pennsylvania, has issued the first two Sample copies available on request Competition open to any initiated mem­ recordings of its Great American Choir from the publisher. ber of Phi Mu Epsilon in good standing Series. The first, Profile, featured the between 18 and 31 and not under pro­ California State University Choir of Long fessional management. Applications may Beach with Frank Pooler, Director and Alfred be obtained from Miss Claudette Sorel, the second release, Spectrum, by the PUBLISHERS National Chairman, 333 West End Ave­ Kansas State University Concert Choir Alfred Publishing Co., Inc. nue, New York, N.Y. 10023. Final audi­ with Rod Walker. Both are being sent 75 Channel Drive tions will be held August 18, 1977 in to our regular reviewer for further com­ r:J Port Washington, N.Y. 11050 Kansas City, Missouri. ment and review.

OCTOBER 1976 29 I ) NOMINEES FOR TREASURER Random Thoughts FROM LOU DIERCKS

Let's talk again about freeing the voice to sing. I have found several ideas most helpful in aiding a singer to get out of his own way. This has been said before, but bears repeating. The muscles employed in chewing, sucking, and swallowing are antagoni­ stic to those involved in producing tone and pitch. How can we avoid the problems resulting if they are involved. It is impossible to swallow if your tongue is extended outside the lips. One can't well perform in this stance but if we keep the tip of the tongue touching the lower gumridge on all vowels (where the teeth and gums meet in front) this will inhibit the swallowing muscles and free the sing­ ing set. Freedom of vocalization and range and quality will be improved. As for the chewing set of muscles, the following has proved helpful. Do PIDLLIP H. MARK .JANET M. YAMRON not move the jaw to articulate con­ sonants. If the jaw moves because you have articulated a consonant this Phillip H. Mark is a graduate of North Janet M. Yamron is Associate Profes­ seems to not interfere with the sing­ Dakota State University (B.A.) and the sor of Music and Music Education and ing set. Try singing "Hallelujah" on University of Iowa (M.A.). He has been Coordinator of the Student Teaching Pro­ one tone and try to avoid moving the on the staff at Barrington High School gram at the College of Music of Temple jaw on the '1' and the 'j'. Let the in Barrington, Illinois for the past nine University, Philadelphia, Pennsylvania. tongue do it all. Be sure the final She has been active in various capacities years where he is director of choral vowel is not accented and is 'ah', not activities. Prior to his present position in ACDA including the committee on a stressed 'uh'. (Remember repeated Community Music, Registration and Pro­ he taught in Morrison, Illinois. 'While Hallelujahs end on the vowel 'ah' and gram committees for Eastern conven­ at Barrington his choirs have performed start again on the vowel 'ah') so for the Schools of Music of many major tions, a delegate to the first People to there is no jaw action needed at all). People mission in May, 1974, and most colleges and Universities throughout the Think of jaw movement as a result Midwest, participating in clinics and recently, an assistant to Lukas Foss at not a cause of clean articulation. festivals. Mr. Mark has been a clinician, the 1976 Bicentennial Celebration at In­ I believe in a former "Random guest conductor and adjudicator through­ terlochen, Michigan. She was also the Thoughts" I mentioned a device for out the North Central Divisioll. organizer of the Reading Choir which freeing the rear of the tongue (retro­ He has been very active in ACDA was used as a demonstration group for flex) on the use of the consonant '1" since becoming a choral conductor. In this event. in words like 'strong', 'grief', 'cross', 1970 he was Chairman of the Steering On the Temple campus and in the 'Christ', 'frost', etc. If one imagines Committee for the first independent Philadelphia area, she has served as the tip of the tongue articulating North Central Division Convention. Fol­ conductor of the Temple University Wo­ almost like a 'd' this will free the lowing that he was elected President of men's Glee Club, the Chamber Singers, back of the tongue to make better­ the North Central Division and served and now conducts the College of Music space and condition for the vowel. on the National Board of Directors for Chorus. Also included in her responsi­ Many opera singers use this idea when five years. He has also been involved bilities are classes in conducting and they 'trill' the '1" or even only 'flip' in planning or in the operation of every choral methods. She now holds the office the '1". Choral singers can accomplish North Central Division Convention since of Treasurer of the Temple University this using the above idea, without 1970. Most recently he has served on Music Alumni. sounding unctious or artificial. For­ the Advisory Committee of the Bicen­ Janet has been a member of Phila­ tunately, many words such as those tennial Celebration Committee at Inter­ delphia's Singing City Choirs and has mentioned above have rather strong lochen, Michigan. served as an assistant to Dr. Elaine connotations. The most helpful sug­ Mr. Mark's professional organizations Brown. :.: gestion I can make on freeing the besides ACDA include MENC, NEA, sucking muscle processes is as fol­ Illinois Education Association, and Bar­ lows: Note the labial folds just at Remember to patronize our advertisers. rington Education Association. :.: each side of the mouth and running up to each side of the nose. Some people tend to tighten these folds If necessary, please include the date or when singing. If one simply places STUDENT CONDUCTORS dates you would prefer to conduct: the hand in a position where the Student ACDA members will have an Thursday, Friday, or Saturday, March 10, thumb is behind one fold, on a line opportunity for conducting a Master 11, or 12. with the mouth opening, and the index Choir at the ACDA National Convention finger on the opposite fold, and then at Dallas next March. Six to ten under­ -***- gently presses the digits together a graduate or graduate students will be "The Education of the Professional bit and a bit forward, one will notice selected to conduct a master chorus of Musician: The Music Educator, Per­ a freeing of the sucking process and resulting improvement of the tone Student ACDA members for three seva­ former, Composer, and Musicologist was rate workshops under the guidance of the topic of an ISME International Semi­ should this process need to be freer: master conductors like Elaine Brown and nar held in Hanover, Germany, July 2-8 With these three processes working for us instead of against us, we are Harold Decker. If you wish to be con­ preceding the ISME biennial conference sidered, please send your name, address, in Montreux. Serving as ch~irman of the getting out of our own way and will telephone number, and short resume to organizing committee was Warner Imig, produce more easily and with better Dr. Bruce S. Browne. School of Music. dean, College of Music, Boulder, Colorado quality. University of Arizona. Tucson. AZ 85721. and ACDA past-president.

30 THE CHORAL JOURNAL ~"" _ ~> Y;.;, '" lightful alternative. As in the Britten collection, the women's choir is accom­ _Ir~ panied by imaginative harp writing. There are six carols with two movements, pre­ , , ' lude and interlude, for the harp. The choral music is not difficult and well within the range of a high school chorus; CRAWFORD THOBURN, (Head, Choral Review Section), Professor of FRANK N. SUMMERS IDE, Chairman, Dept. of Music, Westm.r Col­ some verses of the familiar carols use Music, Wells College, Aurora, New York 13026 lege, LeMars, Iowa 51031 solo voices. The duration of this work is Carl Fischer; Hinshaw; Mark Foster; Frederick Harris; Lawson­ Alfred; Belwin-Mills; Joseph Boonin; Boosey & Hawkes; Galaxy; Gould: Novello: J. W. Pepper: G. Schirmer: Volkwein Brothers. Hal Leonard: Lorenz~ Triune~ Word, Inc. 22 minutes and it is highly recommended, although we do think that the price is JAMES E. McCRAY, Chairman, Music Dept. Longwood College, MRS. RUTH E. WATIS, Box 2298, East Tenessee St.te University, more than it should be for 46 pages. Farmville, Virginia 23901 Johnson City, Tennessee 37601 Roger Dean: Oxford Press: Peer Southern; C. F. Peters; Richmond Cambiata: Concordia: Hansen; E. C. Kerby: ludwig: Marks; Shout the Glad Tidings. Paul Lindsley Press; Schmitt, Hall & McCreery: Shawnee Press: Warner Brothers. Editions Salabert; Summy-Birchard; Walton. Thomas, SATB, organ and optional instru­ ments, 94.211, 70c, (M-). BYRON McGILVRAY, School of Music, San Francisco State Univer­ ADVERTiSERS not listed above as Industry Associ.te Members of This joyous Christmas work is designed sity, 1600 Holloway, San Francisco 94132 ACDA will forward octavos for reviewing to: for the church choir wanting a special Augsburg: Bourne; GJA: Hope; Neil A. Kios; Theodore Presser: MCA Music; E. C. Schirmer. MRS. MELVA LOU SEBESTA, P. O. Box 207, Gregory, Texas 78359 celebr:=tti.ve work that sounds big, but is not dIffIcult to perform. The additional instruments which may be used are 3 trumpets and 1 percussion. Much of the SHAWNEE PRESS has provided a sensitive and dramatic music is in unison with a repetitive four­ setting for the beautiful poetry. The diffi­ part refrain. This is a rousing anthem Psalm 86. Jean Berger, SATB and two for Christmas and Epiphany. treble instruments (flutes, clarinets, vio­ culty will be to keep the intonation secure on the long, slow phrases. This Magnificat and Nunc Dimittis of the lins, etc.), A-5684, 45c, (M). Third Service. Thomas Tomkins, (c. 1572­ There are three movements to this will require a good high school or college choir, but the setting is so delicate that 1656), TCM 46, SSAATTBB and organ, Psalm setting which include: Bow Down, (M plus). o Lord (fasO, Amongst the Gods (very it will be well liked by the performers and audience. The· mild dissonances and This extended 31 page setting uses the fasO, and 0 God, the Proud (moderate). traditional decani and cantoris antiphonal The instrumental accompaniment is beautiful vocal lines weave a quiet, yet haunting mood, which captures the la­ treatment. The music.is very contrapuntal simple and could be easily peformed by and complex in terms of the Tudor Period. high school students. The rhythms are menting emotion of the poetry. Excellent repertoire. The organ music merely doubles the voice less complicated than Berger's usual offer­ parts. This is lovely music but will re­ ing; there are some mild dissonances, OXFORD UNIVERSITY PRESS quire a good choir such as college or but nothing that will provide great diffi­ advanced high school. Most American culty for the singers. Magnificat and Nunc Dimittis. Michael Wise (1648-1687), SATBB and organ, S595, church choirs will find this too taxing Hosanna in the Highest. Kent Newbury, except in the larger cathedrals. 2-part voices and keyboard, E-5178, 35c, 70c, (M). (E). The organ music is rarely more than Ave Maris Stella. Grace Williams, SATB This is designed for a youth choir. The a doubling of the choral parts with some unaccompanied, $2.60, (D plus). ornamentation in the cadential areas. The The duration of this extremely difficult vocal lines employ a limited range while 1 the accompaniment is repetitive and traditional practice of using soli in alter­ Latin motet is about 9 12 minutes. There simple. Much of the material is in unison. nation with the full choir is used through­ are some divisi sections and the music It is an attractive anthem that would out both movements. All choral music is is quite dissonant at times. The full be ideal for the Easter and post-Easter in four parts, and only the "verse" sec­ ranges of the voice are used and this ex­ citing and challenging work will require s~n. tions divide the basses. Suitable for ~n~ Praise ¥e the Lord. Dale Wood SAB church, school or college choirs. a dedicated college choir for performance. and organ with optional percussio~ and Dancing Day. John Rutter, SSA and The linear intervals and dissonances will brass, D-52222, 40c, (M)' harp (or piano), $7.65, (M plus). prohibit all but the advanced groups from For those church choir directors who For years the standard repertoire for performing it. The music is well written are looking for good SAB material that women at Christmas has been Britten's and very effective. will excite the singers and the congre­ Ceremony of Carols and Rutter's new Hurry, Little Pony. Brian Bonsor, uni­ gation, this new anthem by Dale Wood cycle titled Dancing Day will offer a de- son, recorders, percussion and piano with deserves attention. The baritone range is high enough to include the tenors and even though the piece is a bit repetitive, it is nevertheless exciting. The percussion parts are simple and designed for inex­ CHRISTMAS MUSIC perienced players. There is a separate CAROL CANTATA - David Ouchterlony $2.95 score for them (tambourine, finger cym­ bals and triangle). This would also serve Duration 55 min. Fresh and appealing. well for some junior high schools who Congregational words only available for 75c each. sing in three parts. Highly recommended. AROUNDABOUT CHRISTMAS - Cliff Crawley .40 Let the Floods Clap Their Hands. Ben 16 delightful and refreshing rounds. Ludlow. 3-part speech choir and percus­ sion, A-5673, 30c, (E). CHRISTMAS MESSAGE - Ron Klusmeier SATB .60 This composition would be fun for both Bright and youthful sacred composition. school and church situations. The rhythms are crisp but not difficult. Percussion ECHO CAROL - John B. Younger SATB .60 parts call for cymbals, snare drum and Freshly edited for full choir. Most enjoyable. bass drum with the speakers also having THERE CAME A STAR - David Ouchterlony SATB .40 some clapping. The composer suggests that the three voice parts have as much A gentle Christmas piece with hand drum accompaniment. timbre contrast as possible such as child­ 'TWAS IN THE MOON OF WINTERTIME - John B. Younger SATB .60 ren, women and men. As a church choir A newly arranged version of the Huron Carol. anthem it would offer an unusual setting which could be performed with any sized *Send for free copies alld catalogues. group. It would be especially useful during the summer months or as a back­ up work for those Sundays when choir attendance is low. The Willows by the Waterside. Robert ThfF'rIJ:nsickJW!fllC Kreutz, SATB unaccompanied, A-1323, 40c, (M plus). Co.LimiJ£d The text is a translation of a 14th­ -century Pueblo Indian writing. Kreutz 529 Speers Rd. Oakville, Ont., Canada

OCTOBER 1976 31 part are provided. The music is easy and Good rhythmic and 'challenging melodiC' CHORAL REVIEWS - could be performed by most church interest throughout with the one. bass choirs. solo; 46 pages. optional violin and cello s~l?s, $3.25, (~). Ain't A That Good News. arr. by Wal­ Prayer of Supplication and Thanks­ In this setting of a tradItIonal Spamsh ter Ehret, SSA and piano, F-30, 35c, (M-). giving. Dan Locklair, SATB and org., Christmas song, the chorus also supplies This familiar spiritual receives yet an­ F.E.C. 10216, 35c, M. mouth clicks in imitation of horses' other treatment in which each verse Homophonic texture is not insurmount­ hooves. Designed for a children's choir, moves through a modulation to a new able but chords are not so commonplace the music is simple and charming. key. The piano music is simple and the that they lack interest. Text is from "A choral parts and ranges very appropriate Short Book of Common Prayer". 0GER DEAN PUBLISIDNG CO. for a young girls' chorus. A typical, solid Jubilate Deo (0 Be Joyful in the Lord). arrangement by Ehret. GALAXY Karl Wienand, unison chorus and organ, Benediction. Owen Goldsmith, SATB, v6CE-l02, (E). ~ WARNER BROTHERS 1.2598.1, 30c, E. In this charming setting of Psalm 100 Rainy Day People. arr. Ken Gargaro, Good change of pace for a choral the melodic material uses a limited range SATB with piano and optional guitar, closing. and is repetitive making it suitable for 45c, CHO 834, (E). I Yield Thee Praise. Condit Atkinson, children's choirs. The organ music is The words and music are by Gordon SATB and po., 1.2800.1, 40c, E. simple and uses chords with ninths. It Lightfoot and this piece is in their Gives the basses and tenors some melo­ closes with a Gloria Patri. "Composer Series". The first verse is for dic interest. Pianist needs a firm hand. Joseph Met Each King. John Carter, a soloist or in unison and then it divides Sweet, Stay Awhile. John Dowland, ed. SATB unaccompanied with flute, CF-l04, into four parts with some other brief Dart and Fortune, SATB and lute, $3.75, (E). divisi passages for the girls. A slow, M. The choral music is in block chords gentle pop piece suitable for a young A collection of four part ayres selected with mild dissonances. The flute part is high school chorus. from Vol. 6 of Musica Britannica tran­ treated as an obbligato instrument with Have You Never Been Mellow. arr. Ken scribed by Fellowes. It should be useful a countermelody. Only two pages in Gargaro, SSA chorus and piano, CO 0797, for madrigal groups. length, this Christmas piece would be 50c, (E). Invitation to Medieval Music. Transc. suitable for a high school choir. The words and music for this one are and ed. Brian Trowell, comb. and instrm., Song of the Silver BeUs. James C. by John Farrar. There is a more interest­ $3.00, M. Myers, SSAA unaccompanied, CB-806, ing counter theme in the piano (guitar) This is music of the Mid-Fifteenth (M-). than in the Lightfoot work mentioned Century. Good forward by the editor and Using only the first verse of Poe's above. The melody is shifted to the vari­ Thurston Dart. Primarily for the en­ famous poem, The Bells, Myers has ous sections and there is some neutral semble with musicological savvy. created a brief image piece for women's syllable background singing. It would be voices. The chords are often in close attractive to high school girls' choruses. JOSEPH BOONIN position with mild dissonances. Simple rhythms in a homophonic setting with SCHl\HTT, HALL & McCREARY Estampie Natalis. Vaclav Nelhybel, 8 part chorus, SAT soli, pice., vln., vIa., a limited tessitura make this work attrac­ Thanks Be To God. Marie Pooler, SATB tive to most high school girls' choruses. cello and perc., B. 271, 60c, parts $6.00, and organ/piano, 15017, 35c, (M). score, $5.00, M. Resonet in Laudibus. Roland de Lassus There are five verses to this anthem; (1532-1594), SATBB, CA-l07, (M plus). Performed at North Central ACDA. each receives a different setting ranging Choreographic possibilities. Delightful and Edited by Alan Harler. from unison chorus to two part-canon. Taken from the Magnum opus musicum necessary instrumental involvement for The melody is always heard and the those of you with performers available of 1604, this joyful Christmas motet is accompaniment is chordal with some based on the familiar melody, Joseph in school or colpmunity. simple embellishment. This would serve Be Not Silent. James Fritschel, SATE, dearest, Joseph mine. It is a scholarly well for a small church choir. . edition that has three parts; the editor 40c, D. Praise Ye The Lord. Heinrich Schuetz Rated at this level because many choirs suggests that the first and third could (1585-1672), SSA unaccompanied, No. 2585, be performed in several vocal or instru­ may underestimate the challenge inherent 35c, (M-). here when they see the slow tempo and mental combinations. The second part is This three-part girls' chorus setting is in a three-voice texture. This is beautiful rhythmic regularity. Fritschel's writing arranged by Jerry W. Harris and follows calls for impeccable intonation to realize music and recommended for advanced the original SATB version closely with high school or college choirs. the beauty of this issue. regard to harmonic progressions. The Kyrie. Mark Crooks, SATB, B 184, 40c, November 22nd: An American Elegy. ranges are fine and he has even edited Randolph Currie, SSA and piano, CD-l07, D. in a small choir antiphonal echo on the Fascinating evolvement of pitches with (M plus). repeated Alleluias, which is very appro­ Using the sensitive poetry of W. H. tenor and bass sharing counterpoint priate to the Concertato style of the against the independent women's voices. Auden, Currie has created a dramatic early Baroque. A good piece for a high and sorrowful setting in tribute of J. F. Needs more mature voices and ears than school girls' chorus. most high school choirs contain. Kennedy. The music is somewhat angular -James E. McCray and very disjointed in that the piano Now the Eventide Approaches. Bee­ part primarily consists of vertical and thoven, ed. Franz Burkhart, SAB, UE linear interruptions of the text, as if 12800 NJ, no price listed, E. Originally for STB it offers a contrast commenting on the vocal music and cre­ BELWIN MILLS in tonality to the same lighter textured ating a mood characterization for it. The You've Got Your Troubles. Greenaway difficulty of the piece lies in the ex­ Crooks mentioned. However, this issue and Cook, arr. Paris Rutherford, SATB is well within the capabilities of the tended voice ranges which make it too and po., with opt. g. b. and drms., 64403, challenging for many high school girls' developing school choir. $9.00 a pack, E. Ave Maria. Franz Liszt, ed. Kurt Stone, choirs; the tessitura for the alto is low This is a smooth moving choral moods and the soprano must sing a high B-flat. SATB, and org., B. 160, 65c, E. pack including instrumental parts and Stone has given us an excellent edition It would be a piece that would capture fifteen chorus parts. Additional copies the performers and the audience when of a piece of literature needed by many are fifty cents. choral conductors looking to improve performed; it is very dramatic and effec­ Hold Tight-Hold Tight, Want Some tive. their service music and their parochial Sea Food Mama. Brondow, Miller and school teaching. spotswood, arr. Paris Rutherford, SATB, RICHMOND PRESS and po. with opt. g., b., and drms., 64406, WORD, INC. o Come Sing Unto the Lord. Jacob $9.00 a pack, M. And This Is Love. Medema, arr. Powell, Kimball (1761-1826), SATB and optional Another moving pack with more diffi­ CS-2704, SATB and po., 40c, E. organ, MI-l06, 35c, (E). culty due to the fast action syllables. Another lyrical issue for that college This anthem has been abridged by the Longer than many arr. but should be deputation or church youth group. editor Leonard Van Camp. He provides fun for the choreographer. Sing! Praise! Rejoice! Lanny Allen, uni­ performance suggestions in character son, trpt., and po., CS-2696,40c, E. with the early American style. The music J. FISCHER Jr. choir conductors attention! is a mixture of brief contrapuntal state­ In Praise of Easter. Dan Locklair, Three Proverbs. James Cram, SA, po. ments alternated with block chordal sec­ SATB and two trpts., trmb., andkeyb., and fIt., CS-2698, 40c, E. tions. Optional solo sections and organ FE10116, $1.50, D. Excellent set for the above mentioned

32 THE CHORAL ~OURNAL group plus school use for treble choirs school concerts. MUSIC 70 in elementary and secondary. The Two Part Chorister. compiled and o Brother Man. John Lee, SAB, CS­ arr. Walter Ehret, SA, $1.95, E. Three Chorales, Heinrich Schutz, ed. 2699, 40c, M. Most church musicians are looking for John Kingsbury, SATB, a cap., M70-153. Uses familiar Whittier text in a musical a new collection and this issue is worth­ 45c. setting with a beat. Youth choirs and while. even though its music does not Available with both English and Ger­ deputation groups will want to include reflect the century in which it is pub­ man text the chorales are skillful adapta­ it. lished. tions of Psalm 145 "Ev'ry Eye Waiteth LORENZ Upon Thee; Psalm 20 "May God Attend McMee TRIUNE MUSIC; INC. in Thy Distress"; and Psalm 121 "Mine Festival Piece on ."Saint Anne", Eugene Trigon Eyes I Lift". Butler, SATB, org., and brass, Ml119, 50c, The Promised Land. arr. Buryl Red, Almighty ·and Everlasting God, Or­ M. SATB accomp., 'i'GO 109, ·$1.50, E. lando Gibbons, ed. Maurice Gold, SATB, Just what is says and worthy of use This medley of pioneer songs is par­ a cap., M70-145, 40c. by church musicians; parts are included. ticularly suitable for the younger choir This is a fine blend of English text o Be Joyful in the Lord. Gilbert M. but would make a fun group for any from the Book of Common Prayer set Martin, SATB and org.with opt. brass, SATB school ensemble. to polyphonic lines. Linear simplicity is M1114, 45c, ME. Jabberwocky. Sam Pottle, SATB, p., maintained and thus clarity is achieved. Much use of unison should enable the and opt. perc., TGM 103, 35c, M. Traditionally the bass and alto lines are notated diction requested to be delivered. Novelty number using Lewis Carroll closely aligned as are the tenor and Use of brass would enhance the effective­ text, chromaticism and retaining limited soprano voices. ness of the piece. range for all voices. The Man, The Flute and The Serpent, Let the Bright Seraphim. Deodatus The Sea of Liberty. Buryl Red, SAB Theron Kirk, SATB, a cap., M70-147, 40c. Dutton, Jr., ed. Mason Martens, SATB and p., TGM 106, no price, E. For the charm of Edward Lear's wit and po., Mll07, 40c, E. Taken from "ReVOlutionary Ideas", a set to music you will find this composi­ This is from Marten's "Bi-Centennial patriotic musical available, is this tune­ tion a marvelous acquisition. Truly any Collection of American Choral Music", ful issue recommended for the developing audience would enjoy this work per­ same publisher, and a good opener for choir. -Frank Summerside formed by a choir with exquisite diction.'

OCTOBER 197~ 33 CHORAL REVIEWS - accompanist in indicating instrumental PRO ART cues and scoring, but to be most effec­ Adoramus Te, Orlando di Lasso, arr. tive, the original scoring for orchestra A. Avalos, 3 part, a cap., 2899, 35c. Pat-A-Pan, arr. Theron Kirk, SATB, should be employed - a modest instru­ recorders and percussion, M70-149, 40c. This is a fine example of the LVR mentation of two oboes and bassoon in editions (limited vocal range). Avalos The recorders and percussion parts addition to the usual strings and organ which are non-complex are an enhance­ provides worthwhile music for this type continuo. The parts for these are avail­ of singer without sacrifice of the musi­ ment to an already catchy French mel­ able from the publisher. ody. cality of the 16th century motet. This is an important and very worth­ Praise the Lord with Gladness, Marcus G. SCHIRMER while addition to the literature, and a Wiley, SATB, piano opt., 2895, 35c. William Herrmann has edited another fine example of mature Handel which From the LVR series this is an example large -choral-orchestral work by Handel, has not hitherto been available in this of a good teaching device which could the Funeral Anthem For Queen Caroline format. While bits and pieces of it have also be used for performance with its ("The Ways of Zion Do Mourn") (SATB been excerpted by others for performance constant fluctuation of tempo. with organ or piano accomp., ED.2972, (Le. "Their Bodies Are Buried in Peace"), Born King of Kings, Jacob Handl, arr. $5.00), which dates from 1737. As is the or excerpted and transfered to other com­ Arthur Hardwicke, SATB, a cap., 2865, case with all of Herrmann's editions of positions by Handel himself (as in the 35c and Give Praise Unto the Lord, G. O. large-scale works, this is an exhaustively "Foundling Hospital Anthem"), as Herr­ Pitoni, arr. Wayne Douglas, SATB, a complete presentation, scholarly as well mann remarks in his foreward - "There cap., 2900, 35c are presentations of "Regen as practical, including a dozen pages of has long been a need for an edition which Natun" and "Laudaute Dominium" which historical and performance information is completely faithful to Handel's original provide both English and Latin text. as a forward, and with footnotes dealing intentions - a need that the present Sunday Carol, Theron Kirk, SATB, a with variant sources, realization of orna­ publication hopes to fill". I highly recom­ cap., 2913, 35c. mentation etc. on virtually every page mend both the work and the edition, Mutiple meter changes should not be of the score itself. This material is help­ for its high musical worth, and the excel­ perplexing if the half note is maintained ful and pertinent, and the editorial pro­ lence of its editing. as the pulse. The unexpected syncopation cedures employed are commendable. in a sacred work but quite frequent in While of sufficient length and musical LAWSON-GOULD Kirk compositions is maintained in the worth to stand by itself, Handel sought Another large-scale baroque choral­ usual fashion. Its vitality stems from the to rescue the Funeral Anthem from pos­ orchestral work, which has been issued rhythm and the alteration of open fifths sible oblivion as an "occasional" piece by for the first time in a modern performing to full chords with some divisi in the incorporating it in later works, a prac­ edition is the Requiem of Heinrich Ignaz women's voices. tice with precedent in his Coronation Franz von Biber (1644-1704) (SSATB with -Melva Sebesta Anthems and the Birthday Ode for Queen piano or organ accomp. LGCo. 51923, Anne. One of several solutions considered $3.50) edited -by Robert DeCormier. Biber was to make the Funeral Anthem Part served as conductor at the court of the I of the subsequent oratorio Israel in Prince-Archbishop of Salzburg in the lat­ Egypt, under the title "The Lamentation ter part of the 17th century, and is known of the Israelites for the Death of Joseph". primarily for his violin music, especially Hermann notes that "this will explain the cycle of fifteen "Mystery Sonatas" why Israel as we know it today - minus c. 1675. the Lamentation is in two, rather than This is a conservative baroque choral This department consists of essays the usual three parts, and also why it work, reflecting the techniques and tex­ on topi-cs of interest to conductors of opens, not with an overture or even a tures of Carissimi's oratorio style. There chamber choirs and reviews of music chorus, but with a tenor recitative." Herr­ are incidental solos for SSATB, but no suitable for small ensembles. You are mann continues in a footnote, "We must complete "solo" sections as such, and the invited to share your experiences and wonder why nobody has attempted to soloists generally sing in groups of from to make recommendations. Write Dr. rejoin the Funeral Anthem and Israel in two to five at a time. With the exception William Lock, Music Department, Bi­ a modern performance", an idea which of isolated instances for the Soprano and ola College, 13800 Biola Avenue, La some of our readers might consider Bass soloists, there is little coloratura Mirada, California 90639. adopting. work for the soloists who provide more There are eight movements in the of a contrast in tonal weight and dyna­ Funeral Anthem, all of them choral ­ mics to the tutti than they do a stylistic The search for choral literature seems the first full-length work by Handel with­ one. Regarding the ranges and tessiture endless. Yet there is an abundance of out solo recitative and arias. Variety is of the vocal parts - the two Soprano available publications. How can you find achieved however, by utilizing the chorus parts are equal in both. The Alto and just the 'right' piece for your program? alternately in choral recitative similar to Tenor parts have rather wide ranges, Your choice is limited to some degree. that in Israel in Egypt, in a duet-like particularly at the lower end of their Becaus~ you do not have a large number texture similar to the "chamber duet" compasses, and at times they overlap. of singers in your ensemble, you must choruses in Messiah, and in what Herr­ In order to insure balance in certain leave certain styles and textures to larger mann refers to as "genuine choral move­ places it might be advisable to have a choirs; And because your singers may be ments". The latter often feature allusions few tenors double the alto, and a few young as well as few, you must care­ to, and quotations from the chorale litera­ baritones help out the tenors. fully consider the balance reqUired be­ ture of the German Protestant church. The edition is relatively "clean" com­ tween voices and instruments whenever For example, the opening chorus begins pared to that of the Funeral Anthem they are essential. Moreover, your singers with such a quotation - the first phrase reviewed above. Tempo and dynamic may not be professional. You need to of the Lutheran ,chorale "Herr Jesu markings have been inserted by the editor, program selections with a variety of Christ, du Hoechste Gut". but as far as can be ascertained, these tempos, meters, textures and moods in Herrmann remarks that Mozart uses the and the keyboard reduction are his only order to sustain the in,terest of your same chorale in his Requiem (for the contributions. One sloppy bit of proof­ audience. "Introit"), and one is struck not only by reading is evident in the "Dies Irae" sec­ Whenever you have had some success the use of a common "cantus firmus", tion for the Bass solo to the text "Judex with a selection by one composer, you but also by the treatment in the orchestra ergo cum sedebit" where G def is utilized naturally look for other publications by which introduces the theme, suggesting for the soloist instead of F clef (page 21), the same individual. Music publishers are that Mozart may very well have known resulting, if sung as printed, .in some aware of this and many publish a number the Funeral Anthem, and perhaps model­ horrendous discords. of compositions by the same composer ed some aspects of his Requiem upon it. This is an interesting and worthwhile in a series. Likewise, a number of pub­ Another analogy between the works can work which deserves performance, and lishers have grouped selections by various be found in Handel's sixth movement Lawson-Gould is to be commended in composers, in a single series because they where there is a fugal subject and exposi­ making it available for the first time in are each written in a similar style. tion which is similar to the "Kyrie" fugue a modern performing edition. Recom­ Recently I received copies of new pub­ subject in the Mozart. mended for church and 'college choral lications from Roger Dean in their Vocally, the Funeral Anthem is of groups. -Crawford R. Thobuni "Renaissance Choral Masterworks" series, medium difficulty. The ranges and tessi­ and from Belwin Mills in their "Renais­ ture of all the parts are normal. The sance Choral Series." editor's keyboard realization is service­ No music received for review. Six of the selections from Belwin Mills able, and helpful to the conductor and -Ruth Watts are for unaccompanied chorus in four

34 THE CHORAL JOURNAL ·parts (SATB). Each is from the sixteenth Ringratio Amore, To Love, My Lady, I the third for five parts again. There is century; each is edited and translated by now Offer Praises (2324, 30c) by Marenzio then here a contrast in tone color, tex­ Don Malin; they are excellent examples for SSATB contains a great deal of word ture, and mood. In Hora Ultima, In the of the Italian Madrigal, the French Chan­ painting and the skillful use of three Final Hour is also an Harler edition son, and the German Liedlein, available and four voices. All five voices are only of another de Lassus work. The six voices for the first time in modern performing used at the climaxes. Che Piu D'un Giorno (SSATBB) have identifying melodic editions. Da Bei Rami Scendea, Down ~ la Vita Mortale, How Like a Brief phrases for the various changes in the from the Branches Falling (2319, 35c) by Day our Life Passes (2318, 30c) by Lech­ text. The words seem to be a fitting Arcadelt is an easy, melodic composition ner for SAATB is a setting of Petrarch's conclusion to this survey: with comfortable ranges in all parts ex­ sobering text. At the final hour all will pass away: cept the tenor part. There are high G's Five of the selections from the Roger trumpet, flute, and harp; on six of the eight pages. Der Mon Der Dean "Renaissance Choral Masterworks" jokes, laughter, dancing, Steht Am Hoechsten, High is the Moon series are for unaccompanied chorus in singing and hamony." :-: above Us (2320, 12 pp., 35c) by Othmayr four and five parts. Phillip Crabtree has is a longer work, with several repeats, edited Handl's En Ego Campana, Behold which gives evidence of the great skill I am a Bell (CA-102, 50c) for SATB. This Dr. David. A. Wehr, Associate Profes­ of this superb contrapuntalist. En Vos, interesting Latin text describes the func­ sor of Music and Director of Choral Adieux, Dames, Cease Now your Tears, tions of church bells in calling out the Activities at Eastern Kentucky Univer­ o Ladies (2321, 30c) by de Rore is an praise of God, gathering the clergy, and sity, Richmond, has been selected for his interesting work with an abundance of bewailing death. The different sections, tenth annual award by ASCAP. The 1975­ running passages. Mich Erfreut, Schoens thus require varying interpretations. Ce 76 award is based on the "unique prestige Lieb, Dein Uneblick, Rapt am I, Dear Moys de May, This Month of May (CA­ value of his published works" for chorus Love, With your Sweet Glance (2325, 35c) 106, no price indicated) by Janequin, and and organ, and on the number of per­ by Melchoir Franck is a longer (5 min. edited by Fiora Contino is a delightful, formances given his compositions. He is 30 sec.) strophic work which has no lyrical song which is easy to sing. Musica one of a group of composers affiliated vocal or musical problems. The Two Dei Donum Optimi, Music, Gift of the with churches, colleges and universities Chansons (2326, 35c) by Crecquillon has Highest God (CA-105, no price indicated) throughout the country to receive an many secular passages with seven, eight, by de Lassus and also edited by Contino award designed to assist and encourage and even nine consecutive notes in one is for six voices (SSATTB). This is not writers of serious music. direction. Votre Beaute Plaisante et Lie, an easy motet. The independence of the Your Beauty Binds Me Pleasantly (2327, parts, rhythmic variety, and sensitive The Gregg Smith-***-Singers and their SOc) by Gombert is a miniature master­ musical phrases demand the effort of director, Gregg Smith, began their first piece, possessing many points of imitation. experienced singers. It is a very beauti­ Far-East tour August 19 when they ar­ Three of the Belwin Mills publications ful and challenging work. Resonet in rive.d in Manila. An extensive workshop in this series are for five voices. La Laudibus, Resound in Praise (CA-107, no at Silliman University at Dumaguete in Piaga C'ho N el Core, The Pain within price indicated) is an Alan Harler edi­ the Phillipines will be followed by con­ my Heart by Monteverdi (2323, 30c) is for tion of a de Lassus work for SATBB. certs in major cities of the Philippines, SSATB. It has a fuller sound through This Christmas motet is based upon the Taiwan, South Korea, and Japan, as well the use of triads, some dissonance and familiar melody associated with the words as in Singapore and Hong Kong. They chromaticism. Madonna Mia Gentil "Joseph dearest, Joseph mine". This par­ will return to Los Angeles .October 29 ticular setting is in three parts. The first for the first concert of their 29-city is for SATBarB; the second for ATB and American Fall tour. ADVERTISERS INDEX Agape...... 9 Alfred Publishing Co., Inc. 29 Augsburg ...... 20 Recent Vocal Publications 6691A AMRAM - Five Shakespearean Songs Berger, Jean 27 From the opera "Twelfth Night". Voice and Piano •••••• $ 5.50 Dean Pub!. Co., Roger 17 66469 - Three Songs for America. Bass Voice, Wind Quintet Educational Tour Consultants, Inc. 23 and String Quintet. Score and Parts •••••••••••••••••• 17.50 Foster Music Co., Mark 5 66469A - Vocal Score ••••••••••••••••••••••••••••••••••••••• 5.50 Harris Music Co., Fred 31 66310A GRIFFES - Four German Songs (English-German) Harris, J erryWeseley 28 Middle (High) Voice, Piano •••••••••••••••••••••••••• 3.50 66310B - Four Impressions (English). Middle (High) Voice, Pf ••• 4.00 International Festivals 11, C3 66442 HOVHANESS - Four Songs, Op. 238; Four Songs, Op. 242 Kjos, Neil A 22 Low Voice and Piano •••••••••••••••••••••••••••••••• 10.00 Kosak Record Company 15 66565 PINKHAM - Wedding Song. High Voice and Organ •••••••• 1.25 Kysar, Publisher, Michael 9 66472 RHODES - Autumn Setting. Soprano, String Quartet. Score 5.50 National Association Teachers of 66472A - Set of String Parts ••••••••••••••••••••••••••••••••• 9.00 Singing 26 66137 RILEY - Five Songs on Japanese Haiku 3.00 Novello Publications, Inc. 36 Soprano,. Clarinet in A, Violin, Violoncello. Score •••• 66583 ROREM - 14 Songs on American Poetry. Voice and Pf •••• 6.00 Nuove Music, Inc. C2, 7 6373 - Six Songs for High Voice. Voice and Piano •••••••• 4.50 Oxford University Press 6 66475A SHIFRIN - Satires of Circumstance Pan-A-Lyric Enterprises, Inc. . 8, 12 Soprano, Fl, Cl, Vn, Vc, Cb and Pf. Score •••••••• 10.00 Pan-A-Lyric Enterprises, Inc. . 16,25 66475 - Set of Parts ••••••••••••••••••••••••••••••••••••• Performing Arts Abroad 19 66544 STOUT - 0 Altitudo (Lat). Sopr Solo, Women's Peters Corporation, C. F 35 FI Solo, Instrumental Ensemble. Score and Parts •• 66544A - Vocal Score ••••••••••••••••••••••••••••••••••• Presser, Theodore 14 66548 STRA VINSKY, S. - Chantefables (French) Shawnee·Press, Inc...... 24 10 Songs for Children. Voice and Piano ••••••• SW Baptist Theological Seminary 33 .catalogues for Vocal Music and Contemporary Music \Tocal.\Tideo, Inc 13 Westminster Choir College C4 C. F. PETERS CORPORATION 373 Park Avenue South, New York, N.Y. 10016 ...

, OCTOBER 1976 Alabama-James M. Elson, Huntingdon College, Montgomery 36106 Montana-Russell L. Creaser, 204 19th Street West, Billings 59102 Alaska-Robert Reid (HS), 3808 Randolph, Anchorage, 99504 Nebraska-Dwaine E. Price, (H.S.), 8727 0 Street, Omaha 68127 Arizona-W. Rudy Thompson (HS), 942 South Colgate Drive, Tucson 85710 Nevada-Diana Tomlinson (HS), 3504 Cherokee Avenue, Las Vegas 89121 Arkansas-Michael F. Johnstone, P.O. Box 624, Jacksonville 72076 New Hampshire-Cleveland L. Howard (U), 5 Bay View Road, Durham 03824 California- New Jersey-Clarence W. Miller, Glassboro State College, Glassboro 08028 North: Gary L. Unruh, California State University-Stanislaus, Turlock 95380: New Mexico-John M. Clark, Department of Music, University of New· Mex- South: Thomas Somerville, School of Music, USC, Univ. Park, Los Angeles ico, Alburquerque 87106 90007 New York-Joseph C. Crupi (HS), 307 Lynhurst Avenue, Horseheads 14845 Colorado-Lynn Whitten, College of Music, Univ. of Colorado, Boulder 80302 North Carolina-Clinton Parker, Coil. of Fine Arts, Appalachian State Univ., Connecticut-Willard Minton (HS), Old Hartford Road, Winsted 06098 Boone 28697 Delaware-Peter J. McCarthy, University of Delaware, Newark 19711 North Dakota-John W. (Jack) Trautwein, (U), 531 23rd Ave. South, Fargo District of Columbia-Sondra G. Proctor (HS), 3655 Calvert Street N.W. 20007 53102 Florida-Tom Whiteside (C), 495 Belair Avenue, Merrittt Island 32952 Ohio-William J. Hamilton (HS), 1139 Lindy Lane SW, North Canton 44720 Georgia-H. Hampton Kicklighter, Carrollton High School, Carrollton 30117 Oklahoma-Betty B. Woods (HS), Box 1464, Ada 74820 Hawaii-Robert S. Hines, University of Hawaii, Music Dept., Honolulu 96822 Oregon-Robert B. Walls, Dept. of Music, Oregon State Univ., Corvallis 97331 Idaho-Jerry S. Shively (HS), Route 4, Box 79, Idaho Falls 83401 Pennsylvania-Daniel D. Shaw, Hempfield Area School Dist., Route 6, Box 76, Greensburg 1560 I Illinois-Robert E. Snyder (U), 1017 Colony Lane, Charleston 61920 Rhode Island-Edward W. Markward, Choral Dept., Rhode Island College, Pro­ Indiana-Robert E. Stoll (U), Prairie Drive, Route I, Bloomington 4740 I " vidence 02908 Iowa-H. James Kimmel (HS), 4524 White Pine Drive, Cedar Rapids 52402 South Carolina-Dwight Gustafson, Dean, Div. of Fine Arts, Bob Jones Uinv., Kansas-Donald D. Donaldson (HS), 8219 W. 97th Terrace, Overland Park 66212 Greenville 29614 . Kentucky-James Ross Beane, Morehead State University, Morehead 40351 South Dakota-i<:. Larry Torkelson, University of South Dakota, Vermillion 57069 Louisiana-James H. Friedman (C), 4123 Woodland Dr., New Orleans 70114 Tennessee-Scott S. Withrow, George Peabody C~lIege, Nashville 37203 Maine-Robert C. Godwin, Music Dept., 123 Lord Hall, U of ME, Orono 04473 Texas-James E. Sheppard, 539 Patricia, San Antonio 78216 Ma ryland-Natha n Ca rter, Morgan State College, Ba lti niore 21239 Utah-Joseph A. Graves (HS), 945 East 3100 North, Og"den 84404 Massachusetts-Joseph B. Huszti, Boston U., 855 Commonwealth Ave, Boston Vermont-Donna T. Costes, (HS), R.D. # I, St. Albans 05478 02215 Virginia-David R. Stutzenberger, Shenandoah Conservatory, Winchester 22601 Michigan-John Dovaras, Dept. of Music, Oakland U., Rochester 48063 Washington-Mrs. Jerry Loper (Ch), 6605 NE 191st Street, Seattle 98155 Minnesota-Jon C. Romer, Gustavus Adolphus College, St. Peter 56082 West Viginia-Alfred De Jaager, West Liberty State Coil., West Liberty 26074 Mississippi-Jack P. Donovan, Music Dept., U. of So. Miss., Hattiesburg 39401 Missouri-Dr. Eph Ehly, UM KC Conservatory, 4420 Warwick Blvd., Kansas City Wisconsin-Charles Thomley (HS), 6606 Schneider Place, McFarland 53558 64111 Wyoming-Glenn O. Vliet (HS), 1832 South Spruce, Casper 82601

30 THE CHORAL JOURNAL Jubilee Washington, D.C., December 27-30, 1976 This second annual festival in the Nation's ~~t:~;:;~;;~~!:~' Capital is a 4-day, 3-night program including performances at the Kennedy Center for Performing Arts and other prestigious sites. It also includes two massed choral rehearsals by nationally known guest conductors in addition to a guided tour of Washington, D.C.

ColI~giate Choral festival Mexico City, April 6-11, 1977 Beautiful Mexico City is the location of a 5-day, 4-night choral festival. Included are two guest conducted massed choral rehearsals and concert plus several individual concerts at local schools, orphanages, and churches. Performance possibilities include the Bascilica of Our Lady of Guadalupe or the Famous National Cathedral.

floridaworld International Choral festival Orlando, January 13-16, February 4-13, Rome, April 5-13, 1977 March 3-13, May 4-22, 1977 The music of the renaissance will come alive in the A picturesque city in the heartland of Walt Disney Eternal City during this Easter week choral festival. World is the site of this 4-day, 3-night festival. Highlighting this 9-day program in Italy, is a Included are: Visits to Walt Disney World, Sea World spectacular massed choral concert in 51. Peter's or Circus World. Individual concerts will be Bascilica at the Vatican. Individual performances will scheduled at various locations. also be given in some of the most beautiful cathedrals and churches in Rome, Florence and Milan.

"'lIlIIIIIl These are but a few of the highlights. Adjudication, awards banquets. and many optional tours are included.._ I . International Festivals Inc., is a non-profit I Name , . corporation organized to encourage and support high quality performances by American choirs,1 Organization . orchestras and bands in music festivals and I competition held throughout the world. Address .

I City State Zip . I Interested in: 0 Jubilee 0 Collegiate Choral Festival I o International Choral Festival 0 F1oridaworld Other festivals also available. I Send to: International Festivals Inc., I P.O. Box 41, Parchment, Michigan 49004 The Westminster Experience . ..

PERFORMANCES WITH THE NEW YORK PHILHARMONIC ARE PART OF EVERY WESTMINSTER DEGREE

Since 1939, when Sir John Barbirolli first invited the famous Westminster Choir to perform the Rossini Petite Messe Solennelle with the New York Philharmonic, the Choir has appeared in 21 4 performances with the orchestra. Last season the Westminster Choir joined the Orchestra and its Music Di­ rector Pierre Boulez for the first American performances of Richard Wagner's Last Supper ofthe Apostles, and Columbia Records recorded the work for release next year. During the 1976-77 season, the Westminster Choir will sing with the New York Philharmonic in 10 individual performances. James Levine will conduct the Mahler Symphony No.2 on October 1 and the Mahler Symphony No.8 on October 9, both as part of a Mahler Festival in Carnegie Hall. The Westminster Choir will join Leonard Bernstein and the orchestra for five performances of the Haydn Lord Nelson Mass and the Poulenc Gloria on December 16, 17, 18,21 and 22 in the new Avery Fisher Hall. Both works are scheduled for recording by Columbia Records. Pierre Boulez has invited the Choir to join him on May 12, 13 and 14, 1977 for his farewell appearances as Music Director of the New York Philharmonic in the Berlioz Damnation of Faust. For over 4 decades, performances with the New York Philharmonic have been built into every degree at the College ...

. . . a typical opportunity of the Westminster experience. WESTMINSTER CHOIR COLLEGE Princeton, New Jersey 08540