,.: i

US ISSN 0009-5028 DECEMBER 1984

Official Publication ofthe AMERICAN CHORAL DIRECTORS ASSQG.IATION (

'i

11 I MICHIGAN-STATE-UNIVERSITY A Professional School Offering Instruction and Inspiration from an ArtistFaculty ofInternational Renown • Traditional degree programs: B.M. to Ph.D. and D.M.A. • Degree programs in Music Therapy and Piano Technology • Extensive performance and research opportunities

r-- Graduate Programs in Choral Conducting ...,

• Master's and doctoral degrees • Teaching assistantships . Chamber choral ensembles available • Tuition waivers to graduate conducting students • Scholarships

School of Music Faculty Waldie Anderson, Voice Conrad Donakowski, Musicology Albert LeBlanc, Music Education Philip Sinder, Tuba/Euphonium Ethel Armeling, Voice Frank Ell, Clarinet Dai Uk Lee, Piano Roger Smeltekop, Music Therapy Corliss Arnold, Organrrheory Robert Erbes, Music Education Beatrice Mangino, Music Education Charles Smith, Director Byron Autrey, Trumpet James For~er, Saxophone Linn Maxwelf, Voice of Choral Activities Dale Bartlett, Asst. Chairperson I Russell Fnedewald, Theory Charles McDermid, Music Education Daniel Stolper, Oboe Music Therapy Leon Gregorian, Director of Steven Michelson, Choral Melanie Stuart, Music Education Kenneth Bloomquist, Chairperson Orchestras Deborah Moriarty, Piano Robert Unkefer, Assoc. Chairperson/ Dale Bonge, Musicology Jean Hull, Piano Pedagogy Ronald Newman, Director Music Therapy Israel Borouchoff, Flute Jere Hutcheson, ComposItion of Jazz Studies Elsa Ludewig-Verdehr, Clarinet Douglas Campbell, French Horn Harlan Jennings, Voice James Niblock, Theory/ Walter Verdehr, Violin Lauralee Campbell, Harp Mark Johnson, Percussion Electronic Music Albertine Votapek, Piano Owen Carman, Cello Theodore Johnson, Theory Curtis Olson, Trombone Ralph Votapek, Piano Dave Catron, Marching Band Owen Jorgensen, Piano Technology Donna Randall, Viola I-Fu Wang, Violin Director/Director of Youth Music Edgar Kirk, Asst. Chairperson/ Michael Rogers, Theory Barbara Ward, Music Appreciation Eugene Corporon, Director of Bands Bassoon Charles Ruggiero, Theory William Wiedrich, Asst. Director Peter Dominguez, String Bass/Jazz Jerry Klickstein, Guitar Rosalie Schellhous, Musicology of Bands

Auditions for Admission and Scholarship At the MSU Campus: November 16,1984· February 15 and 22,1985· March 1,1985· April 11-13,1985 At otherlocations: Omaha, Nebraska, November 18,1984· Washington, D.C., November 20,1984 Norfolk, Virginia, February 3,1985· Chicago, Illinois, March 23,1985· Dallas, Texas, May 5,198.'1 Contact Charles K. Smith, School of Music, Michigan State University, East Lansing, Michigan 48824

MSU is an affirmative-action, equal-opportunity institution. THE EDPRESS

Official Publication of the American Choral Directors Association

Articles are indexed in The Music Index, Music Article Guide, and RILM Abstracts ofMusic Literature. Microfilm and microfiche available from University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106

Copyright © 1984 by the American Choral Directors Association

Lynn Whitten, Editor Volume XXV, No.4 Ronnie Sh?w, Managing Editor

DECEMBER 1984

Central Diuision Choral,Music and Copyright: Robert E. Snyder Are You Educated? Eastern Illinois University Music .Department by James A. Smith ...... 5 Charleston. Illinois 61920 The Application of Emile Jacques-Dalcroze's Solfege-Rhythmique to the Choral Rehearsal by Herbert H. Henke 11

When Oren Brown and Richard Westenberg Speak .... 1Listen! . by Brown Bradley 17

ASIA CANTAT in Nagano: An Observation by Conan Castle 21

ACDA Policy on Convention President's Comments 2 Programming and Publicity. . .. 3 From the Executive Secretary. . .. 3 Guidelines for Establishing the Book Review 25 Small, Semiprofessional Chorus 23 Children's Choral Corner 28 Candidates for Election 27 Research Report : 33 Mormon Tabernacle Choir Choral Reviews 35 Closes 1985 National Program .31

SiTATIEMfENT of MfEMblERSililip The American Choral Directors Association is a non-profit professional organization of choral directors with active membership composed of directors from schools, colleges, universities, communities and industrial organization, churches and professional choral groups. Circula­ tion: 11,800. Dues: Active $25.00, Industry $75.00, Institutional $50.00, Retired $7.50 and Stu­ dent $10.00. Membership Year: One year from date of acceptance of dues.

Copyright 1984 by the American Choral Directors Association, (405) 355·8161, P.O. Box 6310, Lawton, OK 73506. Issued 10 times yearly: Septe!TIber through June. Subscriptions to libraries only. Rates: U.S., $12.00 a year; Canada: $14.00; Foreign: Surface $21.00; Air Mail $28.00. Singie copy $3.00, Back Issues $4.00.

DECEMBER 1984 Page 1 Affiliated ()rgiiniz:~tio'~;'" . -'-,"'~--~~--- '-~--'--'---'l INDIANA CHORAL DIRECTORS ASSOCIATION President Eugene Miller Dept. of Music· Anderson College . Anderson, Indiana 46012 Treasurer .' . Geraldine Miller 8222 Cherington Dr. Indianapolis, Indiana 46227 IOWA CHORAL DIRECTORS ASSOCIATION · President . Gary Schwartzhoff 909 11th St. Charles City, Iowa 50616 Treasurer ..Bruce Norris' 420 Maple Mondamin, Iowa 51557 . President's MONTANA CHORAL. . DIRECTORS ASSOCIATION' Comments President .Donald Goddard 773 First Ave. NE· Kalispell, Montana 59901 . Treasurer.. ..' . David Heidel ..' 627 Whitaker Dr. ." . Missoula, Montana 59803 .' My adrenaline begins to increase its flow each year at this time as I relish the joys of sing­ NEBRASKA CHORAL ing much of the V?st array of repertoire of quality for the holiday season. We are blessed by • DIRECTORS ASSOCIATION an abundance of fine seasonal literature which towers high above that for any other period of President j~yous Paul R. Swarisbn the year. What a and meaningful time of year tbis is for choral singers and conductors! 1521 Urbana Lane I have long pondered the reasons for this apparent delight. Has the event many of us rj ­ Clncoln, Nebraska 68505 celebrate motivated composers and arrangers to new creative heights? Can it be that there are . Treasurer Cheri Helmer. many more concerts planned during this time which necessitate additional repertoire from 511 N. 9th-#10Sharlnon which to choose? Whatever it may be, it is our good fortune to have at hand an enormous Seward, Nebraska 63434 OHIO CHORAL ". amount of good, substantial literature to place on our programs. This fact may well influence DIRECTORS' ASSOCIATION not only our zeal and love for music making but increase the size of our audiences, the latter President' of ever increasing concern. John Drotleff 12700 Lake Ave. #1802 Often I become concerned, however, at the poor quality of literature appearing on con­ Lakewood, Ohio 44107 certs during other periods of the year. (Missing is the conspicuous enthusiasm ofour singers; Treasurer Wade Raridon the warmth and size of the audience has gone.) Are we unaware that continual exposure to 2504 San Pedro Drive literature which elevates our minds or nourishes our aesthetic needs has an enormous impa~t Youngstown, Ohio 44511 upon our choir membership and audiences alike? One surely must question the rationale TEXAS CHORAL DIRECTORS ASSOCIATION behind selection of pablum for literature. ! President One must also question our perceptions of our mission. What is it that we are doing r'-:" Nick BoltZ giving choral cOflcerts or exalting the human spirit? How many of you have, as I, bemoaned . 201 Spanish Oak Dr. .Harker Heights, Texas 7654 the lack of choral literature of good quality being written today? What influences, good and Treasurer . bad, have we choral directors had in creating the growing dearth of new literature of quality? Bobbie Douglass 1203 EI Camino Real#106E Many of our composers and arrangers have become pragmatists, writing choral Euless, Texas 76040 Gebrauchsmusik with little educational or emotional substance. We must admit that both you WISCONSIN CHORAL DIRECTORS ASSOCIATION and I have had a hand in thiS and must dedicate ourselves to providing a need for substantive President choral music tq comprise a larger share of our libraries and concerts. Mark C. Aamot How can this be done? Initially we can refuse to purchase inferior music. Music that 121 N. Hartaell Waukesha, Wisconsin 53186· doesn't sell will cease to be published. Look at what has happened to some of our staple Treasurer. . ". and/or more advanced music. Fewer people are acquiring it, and there are those who illegal­ Robert Gentile . ly and immorally xerox it; those factors among others cause publishers to decide not to con­ 935 Woodland Dr. . .. tinue such publications. Rhinelander, Wisconsin 54501 ·Editorial Board . Secondly, more of us can join the successful choral directors who through enthusiasm Editor and skill create thoral programs which continue to build in size and quality. It is the successful Lynn Whitten It 5220 Laurel . programs which·stlm\.1late the creation of literature of quality. can be done by enterprising Boulder; Colorado 80303 conductors! I see it all the time. It is a wondrous situation to behold! Associate Editor If the holiday season can motivate such substance, let us seek ways we can restore the John Sliantien creation and performance of choral music which will exalt our spirits throughout the year. Members Conan Castle Warmest holiday greetings. Sandra Chapman -I John B. Haberlen Alfred Mann Antonio Molina · .Gordon Paine , Frank Pooler Harriet R. Simons

Page 2 THE CHORAL JOURNAL From the ------~ ACDA Policy on Convention D E& EXECUTIVE ,Programming and Publicity SECRETARY'S General Policy Statement I Each choral group that accepts an invitation to perform at an ACDA sponsored ~ Office convention shall agree in writing, as a condition of that invitation, to abide by the publicity and programming guidelines set forth below. The purpose of these The American Choral Directors Asso­ guidelines is to ensure that such programming and publicity properly identifies those ciation now has more than 12,000 mem­ persons responsible for providing the musical performances at such conventions bers, the largest number in the history of (I.e., the composers, arrangers. publishers, singers. and conductors) without ACDA. The organization has member­ publicizing special il'lterests of a nonmusical and controversial character. In any case ship in forty countries of the world. where the application of these guidelines is in doubt. such case shall be resolved by ACDA moved its National Headquarters action of the National Executive Committee in conformance with this Generpl Policy to Lawton, Oklahoma, seven years ago. Statement. The membership has grown from 5,700 to more than 12,000 during those seven Convention Programming and Publicity Guidelines years. This is a tribute to you members of ACDA for providing outstanding choral I. Identification of performing choral groups may include in their titles only the music and leadership for your organiza­ following: tion. Today, ACDA is recognized as one A. Name of the conductor (e.g., Dale Warland Singers, Roger Wag­ of the outstanding choral organizations ner Chorale); of the world. B. Name of a school or church (e.g., Westminster Choir, St. Olaf It is the desire of the leaders of ACDA Choir, Mormon Tabernacle Choir); to improve continually the quality of the organization. Maurice Casey, President, C. City, town, state, country, or ethnic origin; and each of the Past Presidents have D. Age of singers (e.g., Senior Citizens' Chorale, Preschool Singers); devoted many years to help develop or­ E. Musical terms (e.g., Schola Cantorum, Musica Sacra, Collegium ganization quality. Lynn Whitten, Editor Musicum); of The Choral Journal, is always seeking new ideas to improve the quality of The F. Type of ensemble as related directly to repertoire, performance, Journal. President-Elect Hugh Sanders and/or level of. maturity (e.g., Boys' Choir, Chamber Choir, is planning a most exciting National Con­ Children's Chorus, Church Choir, College or University Choir, vention for the ACDA membership. Community Chorus, Concert Choir, Junior-High-School Chorus, Thousands of choral musicians are now Madrigal Ensemble, Men's Chorus, Oratorio Chorus, Senior-High­ preparing music to be performed during School Chorus, Treble or Women's Chorus, Vocal Jazz and/or this convention. Indeed, it is a most Show Choir). rewarding time to be a member of AC­ II. Complete titles of selections to be performed shall be listed in order of per­ DA. formance. Let me urge every member of ACDA to make plans now to be a part of this III. Full names of composers and/or arrangers shall be indicated. very special Silver-Anniversary Conven­ tion. It promises to be one of the best IV. Publication information shall include the name of the publisher and the conventions ever presented for the specific publication number. membership of the American Choral Di­ rectors Association. V. A copy of any unpublished work to be performed shall be submitted to the GB Convention Chairperson for approval along with written acceptance of the invitation to perform on a convention program.

Articles for The Choral Journal should VI. A copy of any proposed program hand-out to be distributed by the individ­ be sent to: Ronnie Shaw, Managing Editor ual choral group must be consistent with that printed in the Convention Program and The Choral Journal shall be submitted to the Convention Chairperson for approval prior to the conven­ Post Office Box 6310 tion. Lawton, OK 73506 Essays on all subjects related to choral VII. Since it is advisable that no musical selection be heard more than once on a music are needed. Five copies are re­ single convention program, each proposed program shall be accompanied by alter­ quested, as The Journal is a refereed nate selections which could be performed in the event of proposed repertoire publication. Manuscripts should be duplication. Whenever a duplication is suggested, the program proposal which bears typed double-spaced, any documen­ the earlier postmark will be given priority. The final decision regarding quality of tation should be done according to repertoire and appropriate programming in accordance with this guideline and the one of the commonly used style manuals, and permission from pub­ General Policy Statement shall be the responsibility of the Convention Committee. lishers for quotations of prose or music should be attached. VIII. The American Choral Directors Association reserves the right to edit any material submitted for publication.

DECEMBER 1984 Page 3 SIX FIt GS

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THE CHORAL JOURNAL One of the greatest challenges to au­ thors' and publishers' rights in recent years has come "as we move away from Choral Music and Copyright: the print culture and confront a surge of space-age apparatus that enables the Are You Educated? broad based dissemination and simultan­ by James A. Smith eous reception by hugh audiences of al­ most unimaginable quantities of creative works."l The problems come mainly in computers, video and audio recorders, 7. Hearsay; and should fill out and send as an inquiry and satellite communications, and the 8. Osmosis. on out-of-print music. This form gives uses (and potential copyright violations) Numbers six through eight are risky the publisher the option of supplying are increasingly private, not readily sources of information for one's practice the reprints or photocopies himself or detectable, yet enormous in scale. Copy­ relating to a federal law, particularly one allowing permission to copy. In either right has always adjusted to technology which has been recently revised. Below case you must make the payment satisfactorily in the past but is being are some typical situations you may en­ suggested by the publisher for the severely tested now. counter to test your knowledge. copies. An example of the form is In the midst of these futuristic tech­ Answers given are based on facts from given in source 2, page 23. nological advancements and novel sources one, two, and three. "But," you say, "this sounds pretty re­ problems, the choral art continues to strictive! What about the fair use stipula­ face a fairly simple and clear-cut problem Q. Two of my sopranos left their music tions?" Yes, the law allows "fair use" on the tour bus. We have a perfor­ thathas been around for me last twenty under Sections 107 and 108 of the new years. The issu~? Illegal photocopying of mance tonight of some difficult pieces law that limits the copyright holder's ex­ protectec). materials for public use in spite for which they must have an individ­ clusive rights in some situations. But be of V'isible printed warnings on the music ual copy. Can I legally make copies warned. This refers almost totally to edu­ and gen~rpl knowledge that there is a for them? cational use in a classroom or library federal copyright law. Are choral A. Emergency copying is permissible to situation, not to use in public perfor­ directors illiterate or is there something replace purchased copies which for mance or rehearsal. And, when copying lacking ..in their general knowledge of the any reason are not available for an im­ is allowed in those special circumstances, law? minent performance proVided pur­ "multiple copies of excerpts of works What do you know about the copy­ chased replacement copies shall be may be made, provided that the excerpts right law.as 'it relates to choral music, and substituted in due course. (Note the do not comprise a part of the whole stipulation "to replace purchased where did you get your information? Did which would constitute a performable it come from a careful study of the law it­ copies." It is not legal or permissible to unit such as a section, movement, or self, a detailed article or guide to the law, buy ten copies and plan to make ten aria but in no case more than 10% of or possibly from some oral tradition of more for your twenty-voice choir.) the whole work. The number of copies the law as interpreted by a friend, col­ Q. We are giving our spring concert next shall not exceed one copy per pupil."2 league, or former teacher? And do you week. May I record it and sell the rec­ The law expressly forbids (among perpetuate ,"old wives tales" about the ords at cost to my students and their other things):3 law or are you a factual source of copy­ families? A. One recording can be made for study 1. Copying to avoid purchase; right information for your students and 2. Copying music for use in any kind of associates? and evaluation purposes if it is re­ tained by the instructor or in the performance (except in the emer­ The following list represents some . gency situation described above); sources of copyright information: school archives. Price is not the fac­ tor. The copyright holder has the sole 3. Copying to create anthologies or 1. The printed version of Public Law right to record and distribute record­ compilations; 94-553, better known as the Copy­ ings of the article product. Once the 4. Copying without including the copy­ right Act of 1976; copyright owner has authorized a re­ right notice. 2. "The United States Copyright Law: A cording of the work, others may re­ Don't these cover almost every situation Guide for Music Educators," pub­ cord the same work by obtaining a in which choral music is illegally copied? lished by the MPA, NAMP, MENC, et "compulsory license," and paying the When the copyright law was revised in al' H~use statutory royalties for multiple copies 1976, the' first time since 1909, it was 3. Report 94-1476 (This gives produced. This is done through the greeted with a flurry of initial publicity special information applicable to the Harry Fox Agency, set up fifty years and then a carefully planned wide­ music educator.); ago by the Music Publishers' Associa­ spread campaign to educate all whom 4. Detailed journal articles explaining tion to handle licensing and collection the law might affect. This was facilitated copyright for musicians in publications of royalties for its affiliated publishers. by the fact that the law did not go into as The Instrumentalist or The Choral Q. A piece that I want to use with my effect until January 1, 1978, over a full Journal; choirs is out of print. I have one oc­ year later. During the years 1976-79 the 5. Study group or seminar discussion on tavo. May I not legally go ahead and educational campaign included articles in copyright, possibly at a workshop, make photocopies for my singers to professional journals, government and convention, or faculty meeting; use? union publications, letters and state­ 6. Oral tradition; A. Not without permission of the copy­ ments from music publishers to all their if customers, and explicit notices on James Smith is Director of Choral Activities right holder it is still protected. The at the Hawaii Campus of.Bringham Young music publishers' trade associations printed music. After this period, the Na­ University. have prepared a simple form you tional Music Publishers' Association and

Page 5 the Music Publishers' Association issued anthems performed were illegal photo­ the Ten Commandments down from joint statements that: copies. The directors, volunteer ama­ the mountain apd now the educational Illegal photocopying can now only teurs, were somewhat ignorant and ill­ process is over. From this moment on be viewed as deliberate larceny. Ignor­ informed of the law; the organizer of the begins the enforcement phase. All Is­ ance of the law simply can no longer be festival was a professional music educa­ raelites forever will come under its pro­ visions." offered or accepted as an excuse for tor. On the way home from the festival copyright violations. ... We have during a discussion of copyright with True, but each succeeding generation completed a state-by-state, coast-to­ several of my students who had attended will have to be taught the command­ coast educational program designed to with me, I heard the follOWing: "Directors ments and make a personal decision to describe and explain the relevant pro­ abide by them. And so it is with the visions of the 1976 copyright statute to today have no choice. My high school had a big choral program and a good copyright law. teachers, choir directors, adminis­ Since the law was passed in 1976, a trators, clergymen and many others director, but he had no budget for choral who might not have fully understood music. He did have a copying budget, so whole new crop of conductors has the new law and its penalties for in­ our whole library was photocopies." grown up that probably missed the initial fringement. After this ongoing effort in We have all encountered the standard educational campaign. It is probably safe print and in person, which started al­ rationalizations to justify photocopying of to assume that they never read an article most three years ago in November, protected materials. (Perhaps we have in The Choral Journal or The Instru­ 1976, it will be difficult for those who used them ourselves.) Do these sound mentalist during their junior-high or high­ continue to make illegal photocopies to sch?ol years. Hopefully they became ac­ claim honest error or innocence.4 familiar? "It's alright to use photocopies in performances as long as no admission is quainted with The Choral Journal during Yes, but ....? Given the scope of the their college years. However, a careful educational campaign mentioned above, charged." "You are allowed to make one complete copy of each copy of a piece examination of the indexes to The Jour­ how can we explain continued violations nal reveals only four articles related to of the law? Can we truly say that all vio­ that you own." "You can photocopy sacred music because it is religious and copyright since the new law was passed lations are deliberate and willful and that (1976-1984) and only seven articles in all sin against knowledge? Those who for nonprofit use anyway." And the beat goes on. the whole history of the publication, are sensitive to the law and are aware of 1959-1984. Of these, none is a detailed its details know that sins continue to be In spite of the industry's claim for wide­ spread dissemination of copyright knowl­ discussion of the 1976 law; they are mo­ committed. The comments by ACDA tivational in nature or cover one specific President Maurice Casey in the June is­ edge, I feel there are two main reasons that violations continue: composer, situation, or aspect of the sue of The Choral Journal were timely law. And, according to information from and reminded us that the problem con­ 1. Ignorance or reliance on second-hand information about the law and its pro­ our National Headquarters in Lawton tinues to exist. Witness the story of John Oklahoma, no session on copyright ha~ Ness Beck, composer and publisher visions, and 2. Lack of personal and professional in­ ever been offered at an ACDA national (Beckenhorst Press), who attended a convention. 6 choral festival as guest conductor and tegrity and commitment to abide by the law in all circumstances. In the September 1974 issue of The was appalled to find many ofthe singers Choral Journal there appeared a suc­ in the choirs performing his own publica­ In reflecting on the stat?ment by the MPA, one can almost imagine a memo cinct five-paragraph "ACDA Policy on tions from photocopies.5 the Use of Copyrighted Materials." This I once attended a festival of church from Moses to the children of Israel: It has been two years since I brought basically said that ACDA supports the choirs where thirteen of the fourteen law and will not permit the use of unau­ thorized copies at ACDA-sponsored ac­ tivities on pain of suspension from the specific event. The Association pledged An ABI Easter Sampler to communicate this policy as a matter of general information to all participants in A King ~ame Riding by Michael Jothen, for 2 part chorus with keyboard and ACDA-sponsored activities. Walter Col­ optIOnal trumpet and percussion / CP 307 .65 . lins and Joseph Boonin drafted this im­ Alleluia from Motet No.6, BWV 230 by J. S. Bach, for SATB chorus with portantstatement, and it was ratified by keyboard / AB 1054 .75 the Board of Directors at the St. Louis At the Cry of the First Bird by David Peninger, for SATB chorus with optional meeting in June 1974. It seems time to keyboard / CP 160 .60 review and update this information in Gloria In Excelsis Deo by David Eddleman for SATB chorus with keyboard / light of the copyright revision of 1976 CP 208 .70 ' and to publish it more widely among the Lift Y.our Eyes from Elijah by Felix Mendelssohn, for SSA chorus with op­ membership. In response to my inquiry tIOnal keyboard/ AB 1050 .70 about the policy, Walter Collins replied "It is still official policy and should b~ W,e would like you to look over these five octavos with our compliments. continuously brought forward to the SImply send a request on your church or school letterhead to receive a free membership and enforced."7 sample packet. Offer expires January 31, 1985. -- ~. Celebrate the 300th birthday of JOHANN SEBASTIAN BACH ~ ABI/Alexander Braude, Inc. with a fOlmal design T-shirt. Sendfor a free brochure to: BA CH 575 Eighth Avenue/NY, NY 10018/[212J 586-1674 P.O. Box 1694 / St. Cloud, MN 56302

Page 6 THE CHORAL JOURNAL Where will our new generation of con­ been enthusiastic and pleased to get the cluded in his account an eye-opening ductors get their information on copy­ facts. disclosure of the costs of printing and dis­ right? We have seen that journals are not These sources give the details of the~ tributing sheet music. In his situation, necessarily the most productive source law but increased knowledge cannot using the retail price oLa piece of music for the students. They obviously g~t in­ guarantee obedience. After the educa­ as 100% of its value, 79% of list price is formation from a readily-available source tional campaign is over (and it has used up in fixed costs: that is more graphic than articles: their reached you), your personal integrity will 50% average discount to retailers director, music teacher, or conductor in dictate what you will do. It seems impor­ 10% composer's royalty rehearsal, classroom, and performance tant and appropriate to offer some com­ 10% printing situations. What he or she does is pelling reasons, both practical as well as 9% distribution (packaging, mailing, powerful instruction. The impressionable idealistic, why we should choose to pro­ warehousing, invoicing, and bill­ young student who sits blithely in the tect the rights of authors by choosing to ing) tenor section as the conductor hands out obey the law. First, a very pragmatic 79% total illegal photocopies year after year (with argument: John Ness Beck, the compos­ "In addition to these fixed costs," says or without verbal comments for justifica­ er/publisher mentioned previously, in- Beck, "there are additional one-time tion) will need more than one article every three years to counteract what he sees in practice. So the director is the key. He/she must be the model for responsible copy­ right procedure. Just as he will always be more knowledgeable than his singers in musical style and choral techniques, he or she must also assume the leadership role in copyright. But where will this director (who was also once a student) get his information? Hopefully by reading journals for that oc­ casional article. But it seems obvious that explicit information should also be in­ cluded in professional curricula along with beat patterns and rehearsal procedures. It ought to be discussed in choral methods, in choral practica, and in music-education sessions. The ma­ terials to be used should be: 1. The copyright law itself, which can be obtained by writing to: The Register of Copyrights Library of Congress Washington, DC 20559 2. House Report 94-1476 on copyright and the music educator. Free. Same address as above. 3. The superb twenty-four-page booklet put out by MPA, NAMP, and MENC: "The United States Copyright Law: A Guide for Music Educators," which can be obtained free by writ­ ing to one of the organizations. 4. The articles listed in the bibliography at the end of this article. Ask the students to read the material, International Youth and M'usic Festival then discuss it with them in class. Give them a true/false quiz using typical situa­ Vienna, Austria - July 1985 tions that they will face. Grade the quiz in 1IIII:lII .... _ . class and continue the discussion. In­ clude information on BMI, ASCAP, and SESAC and what they do. Most of this Bach Tricentenniallnternational information is included in the pamphlet listed as source 3 above. A creative Choral Festival teacher will find ways to present this ma­ terial. I have InCluded this information in Germany/Austria .- June 1985 a choral practicum class for the last sev­ eral years, and the students have always

DECEMBER 1984 Page 7 costs such as engraving (about $18.00 supports our work? David Ladd, the even if he is the opposite of a populist, per page, on an average) and copyright U.S. Register of Copyrights, further rein­ could totally ignore this when taking a registration ($10.00 per number - up forces this with his statement that: "Limi­ position on a copyright issue. from $6.00 per number as of January 1, tations on copyright do not necessarily The counter-argument, as you all know, is that without copyright, the lib­ 1978). Also, out of the remaining 21 % lower costs to the public; they frequently erty of the subject, including the liberty must come funds for advertising and pro­ transfer value from copyright owners into of speech and freedom of expression in motion, contacting dealers all over .the the pockets of other commercial inter­ literature and arts, would be in danger country, promotional mailing pieces, ests. "10 (In this case, into the pockets of and ultimately some of the values of exhibits at conventions, and compli­ those who sell and operate the copying Western civilization would be at risk. mentary examination copies. Last year machines.) But this counter-argument is not as ob­ we gave away one copy of music for And now, on the spiritual side ­ vious as the populist argument of every four we sold! .... It must be ap­ Stephen Stewart, Q.c., of the United cheap access to copyright works by the parent that the remaining 21 % must be Kingdom identified a major contempo­ general public. Therefore, the copy­ made to go a long way. From whatever rary challenge to copyright in his 1980 right argument needs to be put again is left of it, capital must be found to re­ Geiringer Lecture at New York Univer­ and again in differing forms and in all invest in new publications."8 countries. Once this is acknowledged, sity: the task of constantly arguing for the The retailer has a similar list of ex­ The ... challenge is one which goes maintenance and development of penses to deduct from the 50% margin to the very root of copyright. It is a doc­ copyright, which may at times appear above his purchase price from the pub­ trine which is not new, but which as­ repetitive, or even tedious, becomes a lisher, including salaries, mailing, and sumed much greater importance in the necessary, even a noble pursuit, hu­ costs of maintaining and cataloguing a 1960's and the 1970's and will, I fear, manist in the best sense of the word. ll large enough inventory to be gather strength in the 1980's as the And to quote again from the stimula- economic recession develops. It is competitive, as well as his own ting treatise by David Ladd, the U.S. known as "consumer politics." Applied Register of Copyright, on "The Future of promotions and free samples. to copyright, the doctrine meq.ns that Isn't it clear what illegal photocopying the consumer should have the widest Copyright": does? It totally wipes out this narrow possible access to all copyrighted ma­ Although the principal argument for profit margin for both the publisher and terial at the lowest possible cost and, in copyright has always been one of jus­ the retailer! Donn Laurance Mills typified many cases, free .... [Since] almost tice, there is another argument no less very well what we are doing to our own everybody in our modern society is a vital: copyright is an instrument of free­ profession when we indulge in illegal consumer of copyrights in several re­ dom, and a basic one at that. Copy­ right is intended to support a system, a copying. He titled his statement in The spects. ... on most copyright issues the overwhelming majority of voters macrocosm, in which authors and pub­ Instrumentalist "Dracula Would Be lishers compete for the attention of the Proud of US."9 And isn't the image an apt are on one side and a comparatively very small number of voters, who are public - independent of the political one, as Wf!. suck the life blood out of the copyright owners, are on the other side will of the majority, the powerful and, very creative and economic system that of the argument. ... No politician, above all, the government - no matter how startling, disturbing or contro­ versial their experience, views or vis­ ions. Copyright sustains both authors and C·STRAV LSE VICE.NC. publishers. More relevantly, copyright "The Concert Tour CO."TM supports a system, a milieu, a cultural marketplace which is important in and invites you to consider a of itself. If the system's variety is in­ jured, then so too is freedom. 12 European Concert Tour As a final note, a positive experience: for Your Performing Ensemble I recently had the privilege of attending rehearsals of the Loyola-Marymount We guarantee: outstanding performance sites University choirs with Paul qualitative hotels (all with private facilities) Salamunovich and Robert Hunter. Not qualitative bi-lingual guides and only did the groups sound terrific and A fantastic low price! behave admirably but the quality of the literature was wonderful. During those After 27 years we are known as "The Concert Tour Company"TM days many selections were rehearsed, all from the published editions. Then, I saw Write or call collect Today them all pull out a photocopy. "Aha," I C·S TRAVEL SERVICE, INC. thought to myself, "even in the best of "The Concert Tour CO."TM families." I was pleasantly surprised 8222 West 95th Street, Hickory Hills, IL 60457 when, as I was handed a copy to follow, (312) 737·0209 I saw the notice on the bottom of the first Type of Group _ BUCKNELL Name _ A professional music program Address. _ in an outstanding liberal-arts setting full member: NASM City State Zip. _ BUCKNELL UNIVERSITY Dept. of Music, Room 107 Phone ( Lewisburg, PA 17837

Page 8 THE CHORAL JOURNAL page: "This reproduction is made with on The Price and Perils of Paper Peddling," The Music Publishers' Association. "Jllegal Copying the express consent of (the publisher) in Choral Journal (February 1979), p. 10. Means Less Music + Higher Prices." The accordance with the provisions of the 6 Indexes surveyed were Gordon Paine's Index Choral Journal (January 1983), p. 30. to Vols. 1-18 of The Choral Journal; Music Index, "The New Copyright Law." The Instrumentalist United States Copyright Law." This legal 1974-1984, under "Copyright"; and the contents of (April 1978), pp. 60-62. photocopy was the work of Father Vols. 19-24 of The Choral Journal. The United States Copyright Law. A Guide for Richard Trame, the very able and 7 Personal correspondence with Walter Collins Music Educators. Issued jointly by Music Educa­ professional coordinator of choral music concerning the ACDA position statement with re­ tors National Conference, Music Publishers' spect to copyright and copyright presentations at Association of the United States, Music Tea­ at Loyola-Marymount, obviously a man ACDA National Conventions. Letter dated June chers National Association, National Music Pub­ filled with information and integrity. 27, 1984. lishers' Association, and National Association of In summary, I suggest that individuals 8 Beck, p. 11. Schools of Music. and ACDA help promote responsible 9 Donn Laurance Mills, "Dracula Would Be Wohlgemuth, Paul. "Church Musician: The Great copyright practice. Proud of Us," The Instrumentalist (January 1979), Offender." The Choral Journal (January :981), p.22-23. pp. 31-33. Individuals can: 10 Ladd, p.25. 1. Remove the illegal photocopies from 11 Ibid. their libraries and destroy them. 12 Ibid. 2. Make a vow to perform from pub­ lished sources this year; plan ahead Bibliography and order music well in advance of "ACDA Policy on the Use of Copyrighted Mater­ ials." The Choral Journal (September 1974). the first anticipated rehearsal. Beck, John Ness. "An Open Letter to ACDA on 3. Educate students or choristers The Price and Perlls of Paper Peddling." The 1\mabrua tatn! through a seminar or discussion of the Choral Journal (February 1979), pp. 10-11. MOZART'S law; do this even with church and Cramer, Edward M. "Music Teacher: Do You Publications in the catalogues of high-school choirs; hand out the MPA Steal?" The Choral Journal (October 1971), p. Hiinssler-Verlag, Carus-Verlog, and 19. Mark Foster Music Company pamphlet to each singer. Deitch, Joseph. "How Publshers Can Get Paid for 4. Make a personal decision not to Photocopying." Publishers' Weekly (June I, Alphabet Song, arr. Scott Johnson SATB double choir MF 309 photocopy illegally, or to be a party 1984), vol. 225, no. 22, pp. 28-30. SSA double choir MF 952 "Dracula or the Devil?" The Instrumentalist (Jan­ to it, and to speak up whenever a Ave verum corpus (KV 618). violation is seen; help friends and ac­ uary 1979). Char SATB, 2 VI, Va, Vc/Kb, Org. Fisk, Dale B. "Letter to the Editor." The Choral 40.051 quaintances to be more accountable; Journal (October 1971), p. 19 (concerning roy­ Dixit et Magnificat (KV 193). always carry a few of the free alty payments for performance of octavo Soli SATB, Chor SATB, 2 Vis, Vc/Kb, booklets to pass out to the needy. music). 2 Trs in C, Pauken, Org. 40.052 ACDA can: Glover, Stephen L. "Son of Dracula: Another Dreizehn Kanons 40.232/10 Challenge Response." The Instrumentalist Misericordias Domini (KV 222) 1. Plan for at least one annual article on (April 1979), p. 116. SATB, Strings score: MF 139 copyright in The Choral Journal. Haberlen, John B. "William Dawson and the Copy­ choir parts: MF 139A instr.parts: MF 139B 2. Update the position paper on the use rlght Act." The Choral Journal (March 1983), pp.5-8. Missa brevis G-Dur (KV 49)_ of copyrighted materials (drafted in Soli SATB, Char SATB, 2 Vis, Va, Vc/ Hawes, Charles B. "Making Records under the Kb, Org. 40.621 1974). Copyright Law." The Instrumentalist (January Missa brevis d-Moll (KV 6·5). 3. Include the updated position state­ 1979), pp. 22-23. Soli SATB, Char SATB, 2 VI, Vc/Kb, ment and the MPA booklet with "Illegal Photocopying: 'Get Tough' Policy An­ Org. 40.622 membership kits when one joins nounced." Woodwind World, Brass and Per­ Missa brevis G-Dur. (KV 140). cussion (January/February 1980), pp. 34,40. Soli SATB, Char SATB, 2 VI. Vc/Kb, ACDA. Ladd, David. "The Future of Copyright." Pub­ Org. 40.623 4. Have a session on some aspect of lishers Weekly (June 1, 1984), vol. 225, no. Missa brevis F-Dur.(KV 192). copyright at each national conven­ 22, pp. 24-26. Soli SATB, Char SATB, 2 VI, VclKb, tion. Lindroth, Richard. "A Report on Copyright Law for Org. 40.624 In these ways, members of the. suc­ School, Church and Concert Musicians." The Missa brevis D-DUI- (KV 194). Choral Journal (October 1973), p. 22. Soli SATB, Char SATB, 2VI, Vc/Kb, Org. 40.625 ceeding generation will have definite Mills, Donn Laurance. "Dracula Would Be Proud of contact points with the details of the Us." The Instrumentalist (January 1979), pp. Missa brevis C-Dur "Spatzenmesse" (KV 220) Soli SATB, Char SATB, 2 Tr, Pk, 2 VI, copyright law as it relates to music. 22-23. Vc/Kb, Org. 40.626 Otherwise we can be sure that we will be Missa brevis C-Dur "Spaur-Messe" (KV 258). cutting our own throats by robbing the Soli SATB, Char SATB, 2 Ob. 2 Tr. Pk 2 VI, Vc/Kb, Org. 40.627 creators and distributors of their rightful LYRIC CHOm GOWNS HELP 'YOU LOOK, FEEL AND Missa brevis C-Dur "Orgelsolo-Messe" (KV profits and incentives: we could dry up 259). Soli SATS, Char SATB. 2 Ob. the very source of the choral life we so SOUND 'YOUR BEST. 2 Tr, Pk, 2 VI, Vc/Kb, Org. 40.628 Variety ofstyles, fabrics, colors· Quality Missa brevis B-Dur (KV 275). highly prize. Soli SATB, Char SATB, 2 VI, Vc/Kb, craftsmanship· Thirty years experience • Org. 40.629 Satisfaction guaranteed Notes Quaerite Primum Regnum Dei (Seek First 1 David Ladd, "The Future of Copyright," Pub­ Write today for free catalog and the Kingdom of God) (KV 86). lishers' Weekly 225:22 (June 1, 1984), p'- 24 fabric samples. SATB w/Kybd. MF 157 2 The United States Copyright Law, A Guide Sancta Maria Mater Dei (KV 273)_ Adult from $19.95 Char SATB, 2 VI, Va, Vc/Kb, Org_40.053 for Music Educators. MPA, MENC, et ai, p. 17. Youth from $16.95 3 Ibid., p. 6. Venite populi (KV 260). 4 "Illegal Photocopying: 'Get Tough' Policy An­ Char SATB/SATB, Org. (Optional nounced," Woodwind World, Brass and Percussion LYRIC 2 VI, Vc/Kb, Bn). 21.001 (January/February 1980), p. 34. (This is a column CHom GOWN co. **~.*** for which no authorship is cited. The policy an­ p.o. Box 16954 - AZ Jacksonville, FL 32216 MARK FOSTER MUSIC COMPANY nouncement quoted is attributed to President Dean 904) 725-7977 C. Burtch of the Music Publishers' Association.) Box 4012, Champaign IL 61820 Telephone 217-398-2760 5 John Ness Beck, "An Open Letter to ACDA

DECEMBER 1984 Page 9 COLLEGE BEHIND For over sixtyyears the THE CHORAL FACULTY choirs of Westminster Joseph Flummerfelt, Artistic Choir College have per- CHOIRS Director ofthe College, formed in concerts Principal Conductor Donna Plasket Cable throughout the United Allen Crowell States and in Europe. At • • Janet Davis the Spoleto Festivals, Lin- WESTMINSTED Frauke Haasemann coin Center, Carnegie 1"- Hall, or the Philadelphia CHOIR. COLLEGE ~;~:~~TY Academy of Music, the • • lindsey Christiansen Westminster choirs have - ...... Acenterfor-musicstudy--- Thomas Faracco a tradition of excellence Princeton, New Jersey 08540 Marvin Keenze in choral music. Lois Laverty James McKeever Judith Nicosia At Westminster Choir Suzan Pratt College, choral music is Daniel Pratt at the heart of the 'fracy Richards INPERFORMANCE William Riley curriculum. Choir pro­ The Westminster Choir vides the practical appli­ Alan Seale Joseph Flumnierfelt, Sandra West cation of the intensive conductor music training eachWest­ The Westminster Symphonic OperaDepartment minster student under­ Choir Glenn Parker, Music Director takes in the classroom, Joseph Flummerfelt, David Gately, Stage Director conductor practice room, and con­ The Westminster Singers Vocal Coaching certhall. Allen Crowell, conductor Dalton Baldwin The Oratorio Choir Margot Garrett Bachelor of Music de­ Allen Crowell, conductor grees are offered in Mu­ The Chapel Choir 1985 National sic Education; Church Donna Plasket Cable, AuditionSchedule conductor January 12 Ft. Lauderdale Music; Organ, Piano, and The Master Singers Voice Performance; and January 13 Atlanta student conductors under February 2 Los Angeles Piano Pedagogy. The Mas­ the direction ofthe choral February 9 Houston ter of Music degrees faculty March 9 Chicago include these programs The Concert Bell Choir March 10 Minneapolis and choral conducting; Donald Allured, conductor April 20 Detroit The Westminster Opera and piano accompanying Theatre . - and coaching. Financial Glenn Parker, Music assistance is available. Director Call or write for information.

Page 10 THE CHORAL JOURNAL For most persons the term "eurhyth­ mics" conjures up a mental image of in­ The Application of dividuals moving to music. This is an ac­ .;I I' curate but incomplete image. While "eu­ Emile Jaques-Da croze s rhythmics" is the general name given the Solfege-Rhythmique to approach to music learni!:g developed by the Swiss composer. Emile Jaques­ the Choral Rehearsal Dalcroze (1865-1950). the movement exercises actually represent only one part by Herbert H. Henke of his methodology. Jaques-Dalcroze also espoused a unique .9pproach to ear training entitled Solfege-rhythmique be adapted to benefit one's choristers. which serves as a fine complement to the ting. The exercises may be used with any The reader is referred to Lewis Gordon's system of sight singing: numbers, solmi­ movement experiences in developing "Body Movement Exercises in the Choral one's musicianship. A third area of em­ zation, etc. (For convenience, pitch pat­ Training Program"5 and to Wilhelm Eh­ phasis is that of improvisation. although terns in this article are given by numbers mann's "Body Movement and Choral this seems to have been viewed more as representing the degrees of the diatonic Singing"6 for gUidance. a synthesis of the other two areas than as scale.) The less-known component of The exercises are arranged in approxi­ an equal partner. 1 eurhythmics, solfege-rhythmique. is mate order from simple to complex and The choral director who gives serious more readily applicable to the choral re­ should be developed over a period of consideration to the expressed puq~ose hearsal than the movement exercises. Its time. Skills are acquired through pur­ of training in eurhythmics and solfege­ purpose is much the same as that pre­ poseful repetition and with gradual in­ rhythm;que will immediately recognize Viously cited. Rosenstrauch stated that crease in difficulty. Certainly one should goals common to those which are appro­ "Dalcroze's first concern was to improve, not expect to "run through" all of the ex­ priate for the musically literate chorister. to sharpen the ear of his students. He ercises in one sitting or to repeat them In 1909 Jaques-Dalcroze wrote, "The threw the dry, stereotyped method of ear without variance. The chpral director is object of the method is, in the first in­ training overboard and invented a new encouraged to adapt these exercises and stance. to create by the help of rhythm a one which was alive, vibrant, truly musi­ to invent new ones which will accomplish rapid and regular communication be­ cal and in which the student had to take similar goals, challenge the chOir, and tween brain and body."z He also stated, part actively and creatively."7 It is this keep singers mentally alert. Rosen­ "... as an artist, I wish to add, that the emphasis on active and creative strauch offers two quotations of Jaques­ second result of this education ought to participation which sets the approach Dalcroze which suggest that he would be to put the completely developed fac­ apart from the more traditional sight­ give his blessing to such experimenta­ ulties of the individual at the service of art singing and ear-training methodologies. tion. "Each of us tries to develop his and to give the latter the most subtle and Musical material is constantly being ma­ method and to find new ways in complete of interpreters - the human nipulated in ways which demand atten­ pedagogy. At the same time we must body."3 Those who have had eurhyth­ tion and concentration by the student. establish a series of fundamental exer­ mics training know that the exercises in The end result is the acquisition of the cises which constitute the basis of our qUick reaction. following, dissociation, ability to image mentally both pitch and studies."B "The future belongs to us as phrasing, polyrhythms. improvisatory rhythm, an important component of long as we are alive, and it is our duty to movement. and other areas increase choral literacy. explore it. Never mind if we err at times. one's powers of concentration and Consider an all-too-typical beginning We would be more grievously wrong if analysis. They develop a real sensitivity of a choral rehearsal. Physical exercises we lived only in the past .... What toward rhythm, they teach people to lis­ are first set into motion to stimulate seems foolish today, may become the ten to music and to feel it within them­ energy. The singers are then asked to re­ wisdom of tomorrow."9 selves, and they involve simultaneously main standing as the conductor sounds a Developing aural perception. Utilizing a whole range of faculties - concentra­ C major triad. One sees varying degrees solfege-rhythmique principles, the tion. intelligence. mental alertness, sensi­ of the traditional American slouch: rehearsal described earlier might better bility. and physical movement - all of weight on one foot with torso settling have begun with the following activities. which lead to greater insight into one's 4 heavily into the hips. Choristers mind­ The primary emphasis is on pitch dis­ performance. lessly sing a pattern of 1-3-5-3-1 moving crimination. Despite such worthy goals most choral invariably upward by semitone. That vo­ (1) Playa series of triads in random directors find it difficult to imagine incor­ calise plus the ones which follow it are order. The choir is challenged to stand porating eurhythmics into the choral re­ sung automatically and without concen­ quickly if a minor triad is sounded and to hearsals. Instead of discarding the idea tration since exactly the same procedure be seated for all other triads. This quick altogether, however, it is important to is followed each day. The experience reaction response has the beneficial ef­ realize that eurhythmics training can ex­ does nothing for the singers' musician­ fect of physical action and the natural ert powerful, positive influences upon ship and often has questionable validity tendency for the choristers to sit in a one's own conducting ability. Moreover. for vocal development. manner in which they are ready to stand many of the movement experiences can The follOWing exercises are offered as - a desirable seated posture to foster. an alternative to the kind of rehearsal ap­ The ear-training benefits are obvious. Herbert Henke is Professor of Music Educa­ proach just described. TJ1ey stem from Various triads, intervals, and scale pat­ tion at the Oberlin College Conservatory of the author's study of solfege-rhythmique terns should be used as cues. Music. This fall he has been Guest Professor at the University of Gothenburg and the and experimentation with adapting its (2) Though not an exercise as such, it State Academy of Music. Sweden. pedagogical principles to the choral set- is important that choristers learn to stand

DECEMBER 1984 Page 11 with weight equally distributed on the tween whole steps and semitones and to each pitch. To further challenge the balls of both feet, one slightly in front of be able to perform them at will. ensemble, one can divide the choir with the other and approximately eight inches (4) Scale patterns may also be sung the men, for instance, following the apart. Knees are able to be flexed. The using numbers or solmization. Beginning piano and the women following the men torso is buoyantly "lifted" out of the hips with the descending scale the choristers in a three-part canon. Similarly, four-and and the entire posture is one of standing are asked to continue singing the scale five-part canons are possible. The exer­ tall, ready for action. A sense of poise, of downward and upward at a moderate cise requires concentration and develops balance, of animated suspension is CfU­ tempo and without repeating the tonic as part-singing independence. cial for optimal concentration as well as the direction is changed. The exercise Developing rhythmic sensitivity. As for vocal development. This concept is continues without pause with singers the name implies, solfege-rhythmique not limited to the teaching of Jaques­ staggering their breaths. When the con­ places great emphasis upon developing a Dalcroze. Nevertheless, references to ductor's hands are clapped the exercise strong sense of rhythm in all facets of balance, muscular control, breathing, continues in silence until, at the next musicianship. To Jaques-Dalcroze this etc. , permeate his writings. clap, voices are to be heard again. This meant that there must be. kinesthetic in­ (3) Begin vocalizing on a descending experience reqUires the singers to image volvement whether it be whole body 5-4-3-2-1 pattem. Instead of progressing the pitch and maintain a steady pulse movement or merely beating time while chromatically upward, give starting during the silences which can be as long one sight sings. Many of his exercises in­ pitches for the pattern in random order and as frequent as the conductor wishes. volve the conscious rhythmic alteration (e.g., G, F,F#, A, Ab, C, Bb, A, ...). A more complex version of this exercise of what is notated so that the material This progression forces the singers to is to perform it in two, three, and four with which one is working is ever chang­ listen carefully for the pitch, and it avoids parts with voices initially entering in ing. the tendency toward vocal strain which canon separated by a third. (1) A simple device for developing happens when pitches ascend chromati­ (5) In this exercise the singers are the skill of inwardly maintaining a steady cally in a relentless manner. During other asked to perform in unison a series of rhythmic pulse is to perform the scale ex­ rehearsals incorporate different patterns pitches which are given by the conductor ercise described earlier at tempi which (e.g., 8-7-6-5-4 or 6-5-4-3-2). When from the piano. The exercise is done are changed on cue. Assuming a moder­ the singers aare sufficiently experienc­ in canon with the piano four pulses ate quarter-note pulse, the singers ed, various trichords can be used (e.g., ahead of the singers. For example, the should shift weight from one foot to the 6-5-4, 5-4-3, 4-3-2) with the conductor piano might sound E-E-E-E-B-B-B-B­ other in rhythm or tap hands silently and signalling for the desired trichord as the G-G-G-G . .. and, when the first B is buoyantly as the scale is sung. On prear­ initial pitch is given. The goal in varying sounded, the singers begin on E singing ranged signal given by the conductor, _the patterns is to develop the singers' "one, two, three, four" to help them they continue feeling the steady quarter­ abilities to be aware of the difference be- remember the number of pulses sung to note pulse as they change to singing the scale in half notes or eighth notes. When this is able to be done with security, add the element of silent singing to the exer­ cise. (2) Sing the familiar round, "Are You Sleeping?" Perform the first half of each section of the round at a normal tempo and the second half of each section (the "echo") twice as fast. Do not conduct, but have the singers physically express the underlying pulse in some fashion. Do it again but with the first part of each sec­ tion at the fast tempo and the "echo" at the normal tempo. Then divide the choir and, simultaneously, have half do each version. Try it in round form as well. (3) Another rhythmic exercise uses a repeated pitch and staggered breathing. The choristers sing "pah" or some other consonant-vowel combination on the pulse. From finger signals given by the conductor the singers change to two equal sounds per pulse, then three, then ALLAN LANNOM, Choral Director four. The signals can be given in random A Master Teacher is an inspiration. He dares to encourage his students to surpass him. order. Also, it is possible to divide the He turns aspiration into reality. Allan Lannom is MasterTeacher and a member of the dynamic artist faculty ofThe Boston Conservatory. CHORAL MUSIC OF ,-he BostonConservatory FRANCIS JUDD COOKE MUSIC 0 DANCE oTHEATER i!Jte.e. c.a..ta1.og: Box 1837 BTHE FENWAY/BOSTON.MASSAcHusms 0221S DOWD MU61CAL PUBLICATION6 (617) 536-6340 Contact the office of admissions for a free prospectus. JohV/..6On. Cay, TN 37605

Page 12 THE CHORAL JOURNAL choir with each part assigned a different pitch. Have half of the group follow signals given by the conductor's left ~ hand, the rest following the right hand. Assuming a quarter-note pulse, then, the a) Using one pulse per measure (tap­ to be sung as written, countless manipu­ singers are performing quarters, eighths, ping silently or shifting weight from side lations can be made to challenge the per­ triplets, or sixteenths according to the sig­ to side), sing the printed notes plus the formers with the same basic material. For nals given. intervening scale steps. For example, in example: Developing reading ability. The next the first measure two notes would be Sing the example in retrograde. set of exercises utilizes a printed score sung, 8-7, with each receiving half the Sing one measure aloud, the next and, therefore, combines pitch-rhythm duration of the basic pulse; in the fifth measure silently. imagery with printed symbols. Aural per­ measure, 8-7-6 would be sung as a Sing every other measure without giv­ ception and rhythmic sensitivity continue triplet in relation to the basic pulse. This ing time for the intervening measures. to be developed. procedure not only facilitates the singing Divide the choir and have each part (1) The C major scale is notated on of the notated pitches but also causes the sing in rotation (e.g., Sop. - m. 1, Alto the staff. Following the principle of vocal­ performer to look ahead and to be aware -m. 2, Ten. - m. 3, Bass - m. 4, Sop. -m. izing the middle or high vocal register of the size of the interval between each 5, ... ). downward rather than the lower, heavier pair of printed notes. Sing the exercise in canon. vocal register upward, it is recommend­ b) The preceding activity is performed Add a key signature, but be certain to ed that the scale be notated in its des­ with notated pitches at a mezzo-forte have the ensemble establish key feeling cending form. Sing the scale as printed. level and intervening scale steps at a before singing in the new tonality. Then, add the key signature for F major pianissimo level. (3) Similar procedures can be used and sing. Change the key signature to Bb (c) The same exercise is performed for rhythmic reading. This exercise major and sing. Gradually develop the with the interval sung as notated im­ should be adapted to match the level of choir's ability to sing from "C to shining mediately after the intervening scale ability of the ensemble. A simple begin­ C" (or C#) with any key signature. It may steps are sung (e.g., 8-7-6, 8-6). ning experience might incorporate the be helpful to use letter names with chro­ d) Once the notated pitches are able following rhythm: maticalteration, singing, for example,"C, B-flat, A-flat, G, F .... " As the singers 2­ gain proficiency, the scale can be sung in If one key descending and in another key ascending. Also, it should not be neces­ a) Sing the rhythm on the C major c) Sing alternate measures with the sary always to rely on reading the notes scale pattern either ascending-descend­ intervening measures performed in as they are sung, but in the early stages ing or descending-ascending. It is impor­ silence. d) Sing the rhythm to a pattern alter­ the skill can be developed more quickly tant that the singers are physically ex­ nating scale degrees with a repeated from seeing the key signatures or the ac­ periencing a quarter-note pulse. Repeat pitch. For example, the following pitch cidentals written in front of the notes. the procedure, but start with the second patterns can be sung in the given Jaques-Dalcroze gave very high priori­ measure and end with the first, etc. rhythm: 1-2-1-3-1-4-1-5-1-6-1-7-1-8-1 ty to the ability to sing all scales from C to b) Follow the same procedure using or 3-1-3-2-3-3-4-3-5-3-6-3-7-3-8. C. He stated that the comparative study all forms of C to C scale patterns. of scales should be commenced as soon as pupils can distinguish between tones and semitones and that mastery of this skill would lead to an understanding of key relationships and a strong sense of relative pitch. lO Without a doubt the singers will become much more aware of interval accuracy in scale lines and will be able to react to rehearsal admonitions about whole and half steps with real un­ derstanding. (2) The following beginning sight­ singing experience for a choral ensemble makes use of the intentional rhythmic or pitch alteration of what is notated on the chalkboard or shown on a screen from an overhead projector.

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Page 13 DECEMBER 1984 (4) As the performers' skills at reading cianship training which can be designed Mel Bay Presents pitch and rhythm develop, the two are with healthful vocal development in combined with similar types of materials mind can have a major impact on the ac­ manipulation. For example: quisition of choral literacy within an ensemble. Singers find the experience an I J:' I enjoyable one because it constantly chal­ lenges their mental alertness. it is a a) Sing the example as written; sing it musically satisfying activity. and it leads backwards. to a real sense of understanding and ac­ b) Sing the notes and tap intervening complishment. eighth notes as a complementary Among his stated goals for eurhyth­ rhythm. mics study, Jaques-Dalcroze included c) Sing only the eighth-note comple­ the words, "to strengthen the power of ments, a process by which the initial concentration, to accustom the body to eighth-note duration within the given hold itself, as it were, at high pressure in note is imaged and the remaining eighth­ readiness to execute orders from the note values contained within the given brain .... "11 The regular use of solfege­ note are sung on that pitch (e.g., cJ.J rhythmique techniques in choral vocali­ becomes., .tJ .r7.n. zation will promote an aurally perceptive Additional manipulations of the same vitality within the mind set of the singers. type of material are possible. For ex­ All choral directors should welcome this ample, singing two measures and skip­ kind of dynamism. ping one forces the performer to look ahead; singing portions twice as fast or Footnotes twice as slowly according to cues from 1 Emile Jaques-Dalcroze. Rhythm. Music and the conductor fosters concentration on Education (London: The Riverside Press Ltd .. pulse and an awareness of note rela­ Revised Edition. 1967). p. 65. tionships to the basic pulse; intentional 2 Emile Jaques-Dalcroze et al.. The Eurhyth­ substitution of equivalent note values to mics ofJaques-Dalcroze (Boston: Small. Maynard & Company. 1918). p. 16. An in-depth teaching manual those given (e.g., performing a dotted 3 Ibid.. p. 18. and cassetteff!'" both directors eighth and sixteenth instead of the 4 Frank Martin. "Eurhythmics: The Jacques­ and- choir members who are printed two eighths) will highlight the dif­ Dalcroze Method," Music in Education (Paris: ference between two rhythmic figures. UNESCO. 1955). p. 231. actively involved in a church 5 Lewis W. Gordon. "Body Movement Exer­ It should be clear that all of the exer­ cises in the Choral Training Program." The Choral music ministry. This unique cises described in this article are to be Journal (March 1978). pp. 12-13. text combines sound musical performed with a strong sense of 6 Wilhelm Ehmann. Choral Directing (Minne­ training with a wealth ofin­ rhythmic pulse. This is best developed by apolis: Augsburg Publishing House. 1968). pp. requiring the singers to show the pulse in 78-92. novative and powerful new 1 Henrietta Rosenstrauch. Essays on Rhythm. musical compositions. An ex­ some physical manner. Also, the mani­ Music and Movement (Pittsburgh:' Volkwein pulation of the material in the exercises is Bros.. Inc.. 1973). p. 10. citing and important addi­ to be done in such a way as to encourage B Ibid.. p. 20. tion to your choral library! quick reaction and concentration. 9 Ibid. 10 Jaques-Dalcroze. Rhythm. Music .... pp. Book $5.95 Starting choral rehearsals with approx­ 29-31. Stereo Cassette $8.95 imately ten minutes of vocalized musi- 11 Ibid .. p. 62.

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Interested as: __ Conductor __ Participant __ Singer Being a voice teacher and choral con­ ductor, I find myself trying to answer various questions which juxtapose the When Oren Brown and fields of voice and choral conducting. I thought it would be of value to the vocal Richard Westenberg Speak and choral community if I compiled ... . I'Listen! some frequently asked questions and se­ lected a prominent choral conductor and by Brown Bradley a renowned voice teacher to give their answers. My first task was to find a voice teacher who was familiar with vocal problems ranging from young students to sea­ should be a periodic voice check fleXible, whether or not they can soned professionals, one who was once a year. In college choirs a make music with other people. knowledgeable in the selection of choral voice check every six months is When there is a choice, I like to test personnel from a vocal standpoint. I valuable, Every four months is not new voices with several others in wanted to choose a teacher who was too often for high-school and jun­ the group before accepting them, aware of new physiological research as ior-high choirs. These auditions are particularly in professional situa­ well as voice basics. It needed to be one desirable because maturation var­ tions. who knew the voice as a healthy musical ies considerably with different indi­ Question 3: Should there be a voice instrument. I chose Oren Brown of the viduals. Maturation in one voice warm-up period before the choir begins Juilliard faculty. Brown, recognized as a might have already taken place at rehearsals? pioneer of voice therapy, was lecturer at seventeen or eighteen, whereas in RW: Certainly for an amateur choir, Washington University School of Medi­ another the growth period may last but, hopefully, it is not necessary cine and Consultant in Otolaryngology until twenty-two. Usually, twenty­ for a professional choir. Profes­ for St. Louis Hospital from 1952-68, twenty-one are the years when the sional choir members should before joining the Juilliard faculty. He body has finished growing. warm-up before coming to rehear­ has established himself as a voice author­ Question 2: When there is a choice sals. ity through his prestigious private studio directo~ what vocal attributes should the OB: I would like to say that it is not al­ in New York, where his students read consider in selection of personnel for the ways possible for singers to warm­ like a Who's Who in the singing world, chOir? up before coming to rehearsals, and through his master voice seminars OB: I think that the director has to con­ Even if I were working with a pro­ given throughout the United States, sider the kind of choir he wants. fessional group, I would find value Switzerland, Scandinavia, and Canada. For example, today we have many in a warm-up period. Because One needs only to hear concerts by choirs that are specializing in early voices vary from day to day, I the superb Musica Sacra choral group music. The director may want never feel that time is lost in doing and its outstanding conductor, Richard voice qualities that would blend a little vocalizing and oiling up the Westenberg, to know why I chose him to with early instruments. Or the instrument, as it were. represent choral conductors. Westen­ choice of music could determine berg is Director of Music at the Cathedral the kind of voices he wants. If he's Question 4: What exercises should a of St. John the Divine in New York City going to do contemporary music, vocal warm-up include? and has been guest conductor for many he would want voices with excep­ RW: For myself, a vocal warm-up major choral groups and orchestras in tional ranges. It also depends on period should first warm-up the the United States. the ear of the conductor. Is the brain, the ear; with amateur choirs, Question 1: Should a choral director in­ conductor, in his mind, tuned to a I use physical warm-ups such as sist on auditioning each singer in an ama­ quality that is bright and full or stretching or some physical contact teur chOir? mellow and round? This would in­ between persons such as massag­ RW: I think that a choral conductor fluence his selection of voices.. ing the shoulders. When amateur should audition each singer in any RW: I would like to add one or two choirs that I have conducted have kind of choir, if possible. It's similar thoughts to that. Flexibility is some­ been performing, say, Bach canta­ to testing the ingredients in a cas­ thing I look for in a singer. I look tas or Passions, I frequently use serole ... just to know what you for singers who can sing early chorales as warm-ups. I have them have to work with and also to point music as well as contemporary sing without text on certain vowels. out separate potential problems music. Also, and this is not a vocal This way they concentrate not only and strengths. attribute, attitude can profoundly on notes but also on the alignment OB: I definitely feel that anybody sing­ affect not only the social cir­ of the vowels, intonations, etc. ing in any chOir, amateur or other­ cumstances in a choral group but OB: I think that is great. I constantly wise, should be auditioned from a also the mechanical ones. I'm sure find that I have to refer to the standpoint of establishing classifica­ you would agree that an ensemble basics, to wake up their minds for a tion and determining musical apti­ sense is important. particular function, to remind them tude. With most choirs there When someone comes in with of such fundamentals as breathing an aria or other audition selection, and posture. This particularly ap­ what I want to find out, in my case, plies if the choir is singing or re­ Tenor Brown Bradley teaches voice classes and performance at the New School, New is whether or not they have a cer­ hearsing in a sitting position: they York City. tain attitude - whether they are should sit toward the edge of their

DECEMBER 1984 Page 17 chairs and have a flat surface to sit They simply let basses and altos on. In this position they are bound continue to strain and struggle as to hold their bodies more erect with they continue to go higher and the rib cage a bit more expanded. higher. This helps to keep breathing in the OB: They are carrying over a method lower part of the lungs rather than from an area they know well - the to raise shoulders and breathe speaking range - into an area of high, which causes neck and head the voice that they do not know: tension. the "light mechanism," the "thin I also believe a warm-up should mechanism," the upper part of the Perfect start on the easy side rather than voice. Give it any name you want, forte. As the blood gets circulating, but it is that quality in the voice Balance. and as the voice warms up, we find which uses a different muscular ad­ that a fuller sound results. I feel justment from speech. that it is desirable to think a pitch in Musicologists tell us that the the upper part of the voice and Greeks started building scales from then use a descending pattern. The the top down. It is only in more re­ human voice is a wind instrument cent times when studying music and one can raise pitch by increas­ from the standpoint of harmony ­ ing pressure. This defeats the pur­ a fundamental with overtones ­ pose of getting an automatic ad­ that we began to think of music justment of those muscles for the from the bottom up. We have been upper range. I like the principle: as led into vocalizing patterns by a you go higher, go lighter and system of music rather than by a looser. Allow the adjustment to system of understanding what is Set in the midst of a take place. natural for the voice. 200-acre suburban campus halfway RW: I've seen you do it and it works! between Boston and New York, Hartt What you're saying is that the grad­ Question 5: How important is good dic· offers an unusual opportunity for ual half-step increase up the scale tion to choral performance and vocal intensely individual creative develop­ into the high range can be got from training? ment within a major private liberal pressure, and that's not desirable? RW: I'll quote a marvelous baritone who arts university. On the under­ OB: Carrying the adjustment from a was a colleague of mine many graduate level, students may pursue lower, heavier sound to a higher years ago. He said, "If there were the Bachelor of Music degree in all range overwhelms the voice and one key - only one - to really instruments (including voice), in reduces it eventually, over a period good singing, it would be good dic­ music education, and in history, of time, to actual physical strain. A tion." My concerns (because good composition and theory. Of special singer who does this will come diction involves a few principles interest are Hartt's majors in music away from choir rehearsal with an that can be articulated succinctly) management, piano accompanying aching throat. are: 1) Are the vowels aligned? By and ensemble, choral, conducting, RW: I've seen colleagues of mine warm­ that I mean that all people in the musical theater, opera and jazz. up a choir in the traditional way. choir must make the vowels in the Graduate programs lead to the degrees of Master of Music, Master of Music' Education, Kodaly Certificate (KMTI), Artist Diploma and Doctor of Musical Arts. In short, Hartt balances the intimacy and individual attention of a conservatory with the physical and personal resources of a large university. For more infor­ mation on the Hartt experience, Qualify for your free contact James Jacobs, Director of familiarization cruise. Admissions, Hartt School of Music, Two people of your choice! Cruise lirst University of Hartford, West without your students! Hartford, Connecticut 06117, telephone 203-243-4465. Hartt. WANTED: Exceptional Performing Groups from $34900

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Page 18 THE CHORAL JOURNAL same way. 2) In addition to "align­ RW: I made no previous notes for this where there is excessive vibrato ing" the vowels, is the challenge to question and answer session, but it there has not been sufficient train­ "time" and "tune" the consonants just occurred to me that the best ing in the upper part of the voice. It so that they sound together and on exercise is to exercise restraint. is the weight of the lower part of the proper pitch. When you have one voice in a sec­ the voice that ends up working 08: I feel that everything you've said is tion with an intensive vibrato and (fighting) against something that is absolutely true. The consonant six others with reasonable vibrato, lighter in the voice. I feel that it is and the right amount of energy for you cannot look at that section those two mechanisms working that consonant is most important. (having heard, for example, the against each other that produces It helps to energize the whole per­ lady with the widest vibrato) and an excessive vibrato. formance. Also, the way conso­ say to them, "Sopranos, straighten Individuals in amateur choirs nants are used can serve as tools the tone," because you will be say­ who have not sung during the for expression. Only those muscles ing the wrong thing to the people summer have more vibrato in the needed for the formation of the with the even sound. fall. They have not used and exer­ vowel and consonant should be 08: It has been my hypothesis that cised the upper part of the voice! I used. This would bring us around to an expansion on the quotation from your baritone singer, namely, that diction is the most important thing in a finished product,since it does not interfere with the fun­ damental production of sound. The two can be absolutely inde­ pendent but are simultaneous, thus interdependent. Question 6: Are there vocal exercises for DISNEY AUDITION TOUR '85 Two exciting entertainment employment opportunities obtaining a better blend from the choir as COLLEGE INSTRUMENTALIST - ORCHESTRA. BAND AND BAND DANCERS a whole? Walt Disney World Co. (near Orlando. FL) and DISNEYLAND (Anaheim. CAl are auditioning for a very select group of college undergraduate instrumentalists and dancers. In the WALT DISNEY WORLD MAGIC 08: Yes, if one is singing a song that is KINGDOM and in DISNEYLAND musicians and dancers will be selected to participate in the dynamic All American College Marching Band. In WALT DISNEY WORLD EPCOT Center. musiciansselected will per­ happy and bright, one would prob­ form in the exciting All American College Orchestra. ably not vocalize it on an "00" or The 1985 College Workshop Program begins June 3 and ends August 17. "oh" vowel sound. A bright, open COLLEGE INSTRUMENTALISTS' Audition sites: ORLANDO. FLORIDA DENTON. TEXAS sound like "ah" or "eh" would be January 19. 1985 (Saturday) January 31. 1985 (Thursday) better. If a choir was working on a Expo Center North Texes State University 500 W. Livingston Street Music Building, Avenue C & Chestnut song that was highly moving, such ATLANTA. GEORGIA CHICAGO. ILLINOIS as a religious· experience or some­ January 20. 1985 (Sunday) February 2-3. 1985 (Saturday/Sunday) Radisson Inn. Dunwoody DePaul University thing sad, they would, I like to say, 1850 Cotiilion Drive Fine Arts Building dip into the palette of color of an (EXit 22 of 1-85) 804 W. Belden LAWRENCE. KANSAS GREELEY. COLORADO "00" or an "oh" so that all the vowel January 22. 1985 (Tuesday) February 5. 1985 (Tuesday) University of Kansas ~ Lawrence University of Northern Colorado sounds would have an element of 214 Murphy Hall School of Music. Frazier Hall that darker side of voice color. One BOSTON,MASSACHUSETTS ANAHEIM. CALIFORNIA January 24. 1985 (Thursday) February 9. 1985 (Saturday) can learn to give an overall color to Berklee College of Music Disneyland Rehearsal Hall music and obtain better blend from 150 Massachusetts Avenue Winston Gate (Ball and West Street) NEW YORK CITY. NEW YORK NORTHRIDGE. CALIFORNIA a choir by vocalizing several January 26-27. 1985 (Saturday/Sunday) February 10. 1985 (Sunday) phrases on the color desired for the Carnegie Hall California State University ~ Northridge Del Terzo Studios. 8th Floor Department of Music whole piece. 154 W. 57th Street Corner of Lindley and Nordhoff RW: You mentioned dark and the word COLUMBUS. OHIO January 29, 1985 (Tuesday) "color." I know some choral direc­ Ohio State University School of Music, Weigel Hall tors who even name colors. For in­ 1866 College Road stance, no one should ever be •Auditions will be held from 9 a.m. to 5 p.m. Reservations accepted but not required. Call (305) 828-1853. asked to sing "yellow" and produce Walt Disney World Co. will also be auditioning for professional dancers and singers in selected cities during January and February 1985. a sad sound. I wish in this area For complete information on all of the above, please write or call: there could be some sort of agree­ Disney Audition Tour '85 ment on color and response! P.O. Box 40 • Lake Buena Vista. FL 32830 (305) 824-5478 • Monday - Friday 10 a.m. - 4 p.m. EST Question 7: What exercises are best for controlling vibrato in amateur and pro­ fessional choirs?

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DECEMBER 1984 Page 19 think a lot of vibrato is an excessive RW: Surely. Question 10: Is choral singing detri­ pressure, especially from the lower OB: I ask you because, as you know, mental to a potential solo voice? part of the voice carried too high. falsetto is a term mistakenly ap­ OB: If the choral conductor is a person Exercise is needed to lighten the plied only to male voices, whereas who knows the voice as a musical upper part of the voice and carry it it is a physiological mechanism that instrument, it is not detrimental to -1 down low. It's like a sigh. We sigh applies to both male and female any singer to be in a choral group. from the top down. I prefer to say voices. If some members of a choir RW: I agree. I have heard many profes­ ;) "a sigh in steady tone" as opposed find a part too high, they should sional singers speak of the sense of to the terminology, "a straight definitely sing very lightly. Higher ensemble, the sense of detail, the tone." notes have more intensity in them sense of style, and other things RW: I really object to the too frequent anyway just by the nature of the which they received from good use of "straight tone" because physics of music. Very often high choral training in the beginning of straight tone is not a thing by itself. notes do not have to be as loud as their careers. I would stress that the A firm tone has natural vibrato. an individual thinks they have to be proper way of choir conducting You're telling someone to do in order to be heard and balanced. does not work to the detriment of something, and by doing some­ Question 9: Is seating arrangement im­ any singer at any level. thing they are taking away some­ portant for choirs of less than fifteen? OB: I think singing under the direction thing. They are doing something of a conductor who does not un­ artificial. This may be fine with OB: Yes. Many years ago I had the ex- derstand the human voice as an in­ skilled singers: but it is not realistic perience of hearing a college choir strument can be detrimental. I in most amateur situations. conductor talk on this particular point. He made an exceedingly in­ have had students come to me Question 8: When the voice part lies too teresting experiment of having a from grade school who I would high for some members of the section, small group of singers come to­ have guessed had been studying what can the director suggest? gether and sing the same way, let's with a very bad teacher, only to RW: Obviously, no one should be asked say, do, re, me, re, do. He then find they'd never had a private to strain. I would say to sing a low­ changed positions of several of the lesson but had been singing in a er part or not sing at all. There are singers in several different ways choral group in their school where times when falsetto is good. which brought about a change in demands were put on their voices OB: I'd like to ask you whether you the overall quality. Taking time to that were definitely damaging at think in terms of the female voice position singers can make a big dif­ that age. So again I say, whether it having falsetto. ference in the effect of the overall is detrimental to any voice or not choral quality one would get from depends a great deal on the knowl­ a particular group. An individual is edge and skill of the conductor. affected by the qualities of voices I would like to thank Westenberg and beside, behind, or even in front of Brown for their valuable time in clarifying Plan NOW to attend him. some plaguing questions. They have 1985 Tenth Annual RW: Complementary quality is very. provided vocal and choral musicians very important. with an energetic and informative discus­ CHURCH sion on the value of selecting, caring for, and improving choral situations involving MUSIC MAKE THOU$AND$ our musical instrument - the voice. not hundreds, Make over $6,500 per truckload selling EXPLOSION Florida oranges and famous Indian River April 8-14, 1985 grapefruit. Call 800-531-7461 for details -FOR CHANGE OF ADDRESS­ or write Langdon Barber Groves, Box Be sure to notify the Editor at: Coral Ridge Presbyterian Church 1088, Vero Beach, FL 32961. P.O. Box 63;1.0. Lawton. OK 73506 Fort Lauderdale, Florida

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Page 20 THE CHORAL JOURNAL ASIA CANTAT, the first choral festi­ val in the Orient sponsored by the Nip­ pon International Federation for Choral ASIA CANTAT in Nagano: Music, attracted twenty-eight choirs from twelve countries to Nagano,Japan, on An Observation July 19-24, 1984. Over 2,000 singers, by Conan Castle conductors, and friends of choral music heard choral ensembles from Australia, Belgium, Holland, Hong Kong, Iceland, Japan, the Philippines, Switzerland, South Korea, Taiwan, and West Ger­ many. The United States was repre­ Asia, and Europe and Yamashiro's "Na­ Sunday was radically different. In the sented by the Ohio State University rukami," a modern musical based on afternoon the main street of Nagano was Alumni Choir, conducted by national Japanese drama. The music of "Naru­ blocked off for two hours for mini­ ACDA President Maurice Casey, and by kama" was hypnotic in its rhythmic inci­ concerts by the choirs (all in native cos­ ACDA members Gene Brooks, Walter siveness, sometimes brutally primitive tume) , demonstrations of traditional Collins, Charles Hirt, Margaret Marquiss, and often eerily beautiful. The staging, Japanese instruments, spectacular tradi­ Royce Saltzman, and myself. which called for frequent and dramatic tional drumming, and even a corps-style The CANTAT began on July 19 with movement by the nearly one hundred marching band. Among the joys of the concerts by twelve of the choirs in cities singers, was theater at its most electric, a afternoon was a delightful Japanese ver­ near Nagano. The real gathering of sing­ gripping performance of a major Japa­ sion of "I've been workin' on the railroad" ers occurred two days later with the first nese contribution to musical theater. by a children's choir, complete with kids of daily forty-five minute sessions of The next evening's concert, following forming a chugging train, and an im­ open singing. Various conductors, the official welcome ceremony, was a promptu rendition of "My grandfather's backed by one of the choirs, took turns four-hour marathon involving ten choirs. clock" sung in Japanese. The day ended conducting all of the CANTAT par­ The best of these was the superb Dae with an outdoor picnic in the park next to ticipants in selections from the ASIA Woo Chorale from South Korea, which the dramatic Zenko-Ji Temple. Brief CANTAT Song Book, an excellent sang Marenzio and Monteverdi madri­ concerts on an open-air stage included collection of choral music of many na­ gals with a maturity of sound and clarity expert dancing and singing by the Uni­ tions edited by Tatsuo Minagawa, a of style that was breathtakingly beautiful. versity of Philippines Madrigal Singers distinguished musicologist from Tokyo, Sponsored by South Korea's largest elec­ and an excellent men's glee club from and Shin Sekiya, conductor of the tric corporation, the profeSSional chorale, Meiji University of Japan. Okaya Choir. conducted by Hak Won Yoen, proved it­ The concert schedule on July 23 con­ All singers participated in one of the self to be a world-class choral ensemble. sisted of a series of ten "petit concerts." six atelier (workshop) choirs. These had The eighty-five singers of the Kyoto Echo These occured at different hours during seven to ten rehearsals of one-and-a­ Choir, conducted by Keiichi Asai, sang the day, some simultaneously, and each half- to two-hours duration each. Six the "Credo" from the Frank Martin Mass had two or three choirs singing. The conductors of international reputation with rich vibrant sound and a marvelous CANTAT closed with solid performances ably shaped their choral forces in spite of sense of the expressiveness of the music. by six atelier choirs on Tuesday after­ occasionally disappearing personnel. The excellent University of Philippines noon. Andrea Veneracion of the Philippines Madrigal Singers, conducted by Madame The facilities were first rate. Nagano, a prepared Italian and English madrigals. Veneracion, were equally at home in city of 328,000 surrounded by the Japa­ Willi Gohl of Switzerland conducted Mo­ Renaissance repertoire (Jannequin's nese "Alps," is blessed with a magnificent zart's Coronation Mass. Charles Hirt "Chant des oiseaux") and in crowd new prefectural auditorium complex, chose his new edition of Mendelssohn's pleasers. The Queensland Conservator­ Bunka Kaikan, in addition to the older Conversion of St. Paul. Jos van den ium Singers from Australia, conducted but acoustically excellent large audi­ Borre of Belgium led his singers in by Roy Wales, sang with energy and fi­ torium, Shimin Kaikan. Various other Belgian and French sacred music. nesse. Their program included a beauti­ smaller auditoriums and rehearsal rooms Yoichiro Fukunaga of Japan directed the fully shaded performance of Luboffs "All were qUite adequate. Members of four fascinating "Dream" by Takekuni my trials" and, of course, a rousing ver­ local choirs served as guides, ushers, and Hiroyoshi, and Seako Haegawa, also sion of "Waltzing Matilda." Other effec­ interpreters. Careful organization of from the host country, prepared a tive performances included three Mozart transportation, meals, and housing children's choir in pieces by Poulenc, motets well sung by the Japanese choir made the festival run smoothly. Bach, Palestrina, Lasso, and Miyoshi. Shiki-No-Kai, conducted by Tsugio Several qualities made ASIA CAN­ The concert schedule varied each day. Maeda, and three Monteverdi madrigals TAT a unique experience for me. Com­ The opening concert, held on the eve­ sung by a choir whose singers and con­ petition was nonexistent. Choirs were ning of July 20, was a stunning perform­ ductors were all employees of the Mitsu­ there simply because they wanted to ance by Geino Yamashiro-gumi; a large bishi Corporation. The Osnabrucker sing. The performances proved that the 1 I choir of Tokyo young pople conducted Jugendchor from West Germany, con­ best Asian choirs were every bit as good by Shyoji Yamashiro. The carefully ducted by Johannes Rahe, was unfor­ as the best European and American staged performance, sung without direc­ tunately programmed as the evening's choirs. The less artistic ensembles were tion, consisted of folk songs from Africa, last choir, a time hardly conducive to still warmly applauded for their commit­ proper appreciation of the choir's delicate ment to choral singing. The format of Castle is Coordinator of the Voice/Choral and sensitive straight-tone technique in ASIA CANTAT encouraged interna­ Area at Central Missouri State University and gorgeous performances of motets by tional exchange. The theme song, Su­ a member of The Journal's Editorial Board. Dufay and Obrecht. sato's "Cum decore" with its affirmation

DECEMBER 1964 Page 21 of the joy of singing, was sung by every­ countries. These friendly people were greeted by the non-English speaking one at nearly every session. Between the eager to assist, to learn, to share, to prac­ choristers with the kind of warmth and opening singing sessions and the ateliers, tice their English, and to give patient en­ cheerfulness that made ASIA CANTAT participants spent much of their time couragement to our feeble Berlitz Japa­ an expression of deep friendship for all singing together. My wife and I seldom nese. The version of "My grandfather's who participated. sat down to one of the communal Bento clock" sung in the street by Wally Collins The purpose of the CANTAT as stated (box lunch) noon or evening meals with­ and myself on Sunday afternoon was by Paul Wehrle, President of ICFM, was out being joined by singers from other hardly an artistic triumph, but it was "to understand that meeting and getting to know each other are important steps --_./ towards a peaceful, harmonious world." Wehrle's dream of peace, joy, and friendship was fully realized for six days in Nagano. Those of us who attended came away with a heightened awareness of the power of choral music, of the wonderful people who create music, and of the smallness of our planet. Now we ¥& can sing with new friends in Brisbane, Kyoto, Hong Kong, Nagoya, Osna­ bruck, Wasedo, Taipei, Okaya, Lu­ cerne, Tokyo, Seoul, Columbus, and Nagano: Sing with love, with splendor, with vigor, Sing with praises with the joy of music!

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Page 22 THE CHORAL JOURNAL In the summer of 1981, a group of State-Council-on-the-Arts funds through singers at the Saratoga-Potsdam Choral Guidelines for the Council's decentralization program of Institute, people who wanted to keep local regranting. Albany Pro Musica re­ singing throughout the year at a high Establishing the ceived $1,500 for its second year of con­ level of professionalism, approached Small, certs and $1,700 for its third year of pro­ David Janower about starting a new grams. "Meet the Composer" is a good Albany-area chorus. Janower agreed, Semiprofessional source of money for new works. and the idea for the chorus was 7. Go for corporate support as early announced at the SPAC rehearsals. In Chorus as possible. Fund-raising involves the September, the Albany Pro Musica was community and gives you greater visibil­ formed with its first group, thirty-five ity. Potential donors see that others are singers. Now, in only its third season, by Patricia Kerr Ross giVing, so print a patrons list in your Pro Musica gives three concerts a year to (Reprinted from New York ACDA Choral Press program. full houses, operates in the black, and 8. Spend your money well. Don't wins critical praise for its repertoire and member will feel they are part of the skimp on mailings - reach people! Find musicianship. group when they contribute simple an arts organization with a bulk postal The chorus has a strong board of di­ services such as distributing posters, ad­ permit and use it; local arts councils often rectors which handles membership, dressing flyers, and setting up risers and provide this service. Don't buy ads at finances, concert management, public­ chairs. The social things should come first. Get free publicity in calendar list­ ity, internal communications, postcon­ from within the group, not be dictated ings, public-serVice announcements on cert receptions, fundraising, and the from the podium. radio and television, feature stories in calling of chorus members to provide 4. Insist on auditions for membership area papers and magazines, and inserts assistance. The chorus has managed to to attract the finest singers and to give in other arts organizations'mailings and acquire gifts and grants almost from its members a sense of accomplishment. performance programs. Create a nice inception. In the first year a friend loaned 5. At first, seek as much exposure for brochure with a patrons list. If you can, $1,000 to buy scores, print programs the group as possible by proViding enter­ seek free (in kind) professional designing and posters, and do some modest tainment to civic leaders, shopping services for your brochure and posters. publicity. Janower relied upon the malls, corporations, and other 9. Set up a subscription series, even if newness of the chorus to get help from organizations that will pay something for it's only for two concerts. Offer senior the media. the service; small ensembles within the and student discounts and group rates, The Music Performance Trust Fund, chorus can perform works already in the but don't underprice your tickets. For established by ASCAP and BMI to pro­ repertoire. Set your sights high for these most people, there is no difference be­ vide professional musicians for freepub­ engagements, but don't be afraid to sing tween $3.00 and $5.00, and a respect­ Iic performances, responded to an appli­ Christmas carols in hospitals and depart­ able ticket price creates a favorable im­ cation from Pro Musica. MPTF dollars ment stores. In Albany, the symphony pression of professionalism. are formally applied for through the local has no resident chorus, so Albany Pro 10. Schedule concerts in spaces that musician's union; funds are given directly Musica has provided choral music for the are accessible to the handicapped. to the union which then hires the musi­ symphony, gaining excellent exposure. 11. Build an audience by developing cians for the concert. Stipulations: the 6. Apply for grants immediately. In a good mailing list of singers, your own concert must be free, and the grant can Albany, arts organizations can seek NY- subscribers, and area concert goers cover no more than half the cost. Janower is pleased with the achieve­ ments of Albany Pro Musica and feels it can provide a valuable model for the A unique master's degree successful establishment of quality vocal ensembles in other communities. His program combining advice: 1. Set up an administrative structure excellence and practicality with a Board that will allow you to apply for the total church for tax-exempt status immediately in . . order to accept grants and tax-free gifts. musIcian. Seek an pro-bono-arts lawyer to help with the state and federal filing, and expect to have your application pending Organ/Organ Studies for several years. Choose a simple model Wilma Jensen, Janette Carrigan for your constitution. Composition/Liturgy 2. Select strong and committed of­ SCARRITT Hal Hopson ficers who will accept responsibility for all nonmusicalthings. GRADUATE Conducting/Choirs 3. Build group spirit through such SCHOOL Sandra Willetts devices as name tags, the distribution of with distinguished adjunct faculty member profiles, and informal parties; For more information, please contact: Associate Dean, Scarritt Graduate School, Patricia Kerr Ross is Director for Program Box B-1, 1008 19th Ave. 5., Nashville, TN 37203-4466; roll free 1-800-251-2554 in the Arts, State University of New York, (in Tennessee, 1-615-327-2700) Albany.

DECEMBER 1984 Page 23 whose names are available from other AMERICAN CHORAL DIRECTORS ASSOCIATION music organizations' mailing lists. Be STATEMENT OF ASSETS, LIABILITIES AND FUND BALANCE liberal with complimentary tickets to FOR YEAR ENDED JUNE 30,1984 reviewers, potential singers, and cultural ASSETS leaders. 12. Capitalize on your newness with Current Assets: the media. Get yourself interviewed and Petty cash $ 20.00 provide pictures of the chorus. Ask for a Cash in bank - Cache Road feature on the group's formation and a National Bank 11,467.83 separate preconcert story - two expo­ Time deposits 208,128.39 sures. Be sure your first concert has a Accounts receivable 21,951.69 special touch that the press can focus on. Prepaid insurance 158.64 Albany Pro Musica has presented "birth­ Interest receivable 7,500.00 day concerts" - Stravinsky in his 100th Total current assets $249,226.55 year and Haydn in his 25Oth. Investment 7,075.89 13. Choose a repertoire that makes Land. Building, and Furniture: Land improvement $ 2,730.00 your c!)orus different; don't perform the Office building $224,242.47 same repertoire as established area cho­ Less accumulated ruses. Include contemporary works in depreciation 25,428.22 198,814.25 programs of traditional music. Furniture and fixtures $ 45,511.04 14. Record your concerts and devel­ Less accumulated op a scrapbook for fundraising. Your depreciation 22,168.97 23,342.07 members will be delighted to have a cas­ Total land, bUilding, and sette of their concerts. furniture 224,886.32 $481,188.76 ~~:~.~:::::: LIABILITIES AND FUND BALANCE Liabilities: Cacalaga Available Prepaid subscriptions $ 3,790.93 Bo% lS158~ ORleans, MA 02<553 Payroll taxes payable 411.54 Total liabilities $ 4,202.47 Fund Balance: -Restricted: Building fund $200,000.00 Unrestricted 276,986.29 Total fund balance 476,986.29 Total liabilities and fupd balance $481,188.76

Additional saVings on EULONDA D. ALKIM, PC stock orders Certified Public Accountant 1703 NW Elm Ave Lawton, Oklahoma 73501 CALL TOLL FREE November 14, 1984 1-800-858-3000 American Choral Directors Association (in Pa. 1-800-372-7000) c/o Dr. Gene Brooks Lawton, Oklahoma 73505

Fast, professional service I have examined the statement of assets, liabilities, and fund balance of American Choral Directors Association as of June 30, 1984, and the related statements of revenue and expenses Music of all publishers and statement of changes in financial position for the year then ended. My examination was made in accourdance with generally accepted auditing standards, and accordingly included such Charge accounts invited tests of the accounting records, as well as other auditing procedures, which I considered necessary in the circumstances. In my opinion the financial statements referred to above present fairly the financial position UNIVERSITY of the American Choral Directors Association as of June 30, 1984, the results of its operations, and the changes in its financial position in accordance with generally accepted accounting prin­ MUSIC ciples which have been applied on a basis consistent with that of a previous year. SERVICE P.O. Box 354 Hershey, Pa. 17033 Eulonda D. Aklim, PC Certified Public Accountant

Page 24 THE CHORAL JOURNAL. presents them in standard modern nota­ given, too little margin, and the transla­ 8_ bok 1IIIIlIIlIIIIaI tion with a few footnotes that recognize tions are too awkwardly arranged on the errors in the texts and music (there are page to be useful. REVIEW surprisingly few of these). All texts are in In sum, this collection is for connois­ Book Reviews for the Choral Journal are coordinated by the Committee on Research Italian, with a translation of each text seurs of the Italian madrigal, those who and Publications. Walter S. Col1lns. given at the back of the book. need no explanation and want as little Chairman. (College of Music. University of The principal difficulty with this collec­ clutter as possible in their musical exper­ Colorado-Boulder. Box 301. Boulder. Colorado 80309). Reviews to be con· tion is that the editor does not seem to ience. The music in this volume is de­ sldered by the committee are welcome. have defined the purpose(s) for which it lightful and sophisticated, worth many Publishers of books of Interest to choral directors should submit two review copies was intended. If it is a rehearsal/perfor­ hours of consideration. On the other directly to the Chairman. mance score, the print is too small, the hand, the professor or student who is binding too tight, the paper too thin. searching for a textbook or study mater­ Equally important, perhaps, is the level ial and the school teacher who wants lit­ Alec Harmon, The Oxford Book of Ital­ of difficulty; almost all of the pieces are erature for a high-school chorus will all ian Madrigals. London: Oxford Univer­ too difficult for all but accomplished have to look further. sity Press, 1983, 322 pages, $12.95. singers. Yet, if the book is a study score William M. Jones paper. for analysis or explication, there is too lit­ Rhode Island College The Harvard Dictionary of Music tle explanation, no chronology or dates (1962) proposes two derivations of the word "madrigal." One is matricale, a poem in the mother tongue. The other is mandriale, a pastoral song. Apel prefers the latter interpretation, particularly in re­ gard to the 14th-century madrigal, but Sing into the importance of text in the 16th­ century madrigal suggests that matricale, if not more historically ac­ curate, is more descriptive. Alec Harmon has provided a persua­ sive arguement for the matricale view in The Oxford Book of Italian Madrigals. With some refreshing The collection contains fifty-five madri­ new chorals from Shawnee Press gals by twenty-two composers of the 16th century, presented in chronological Bea Friend - Fink/Knittel-A lovelycall forfriendship written foryoungertwo'parttreble order from Verdelot to Luzzaschi. Any­ choirs. (E-287 .70), Alsp available in unison (F-100 .55) one who has enjoyed singing Italian I Am But a Small Voice -Whittaker/Coates - Roger Whittaker's tune about peace and unity makes a great spring number. SAB (D·317 .75), Also available in SATB (A-1644 madrigals will find his favorite composers .75), Two-part any combination (EA·32 .70) represented here. Some of the selections I'm Gonna Sing - Nygard· An uplifting and rhythmic work for treble or mixed choirs. will be unfamiliar to most readers, as Two'part any combination (EA-44 .75) they are seldom anfhologized. Best of Maybe Someday - McPheeters . Two new revoicings of this best seller. A sensitive all, every piece is a gem. choice for concert or graduation. SAB (D-313 .75), Two·part anycombination (EA-43 The serious and knowledgeable stu­ .75), Also available in SATB (A-1720 .75) dent of the madrigal will find the volume OhlSusanna - Foster/Hayes -You'll wantto grab a banjo and strum rightalong with this to be a delightful collection, demonstrat­ sparkling arrangement of Stephen Foster's folk dassic. SATB (A-1745 .90) ing the evolution of the genre through­ aideTimeSpirituals -arr. Kern -A glorious medleyofOldTime Religion, ThisTrain Is out the century. The early madrigals of Bound for Glory, Gospel Train Is a-Comin', Swing Low, Sweet Chariot and DryBones. SATB (A·1744 .90) Verdelot and Festa show the prevailing Seasoned Spirituals for Spirited Singers, Volume 2-arr. Wagner - Indudes: Sit Down homophonic textures, the restraint of ex­ Lord!; Zion's Children; A quodlibet of Deep River and All Night All Day; He's Got the pression. The classical madrigals of Whole World In HisHands. Two-part any combination (EA-41 135) Wilaert, Roe, Lassus, et ai, are more Smile On Me - Nygard -An original a cappella gospel selection. Harmonically strong. polyphonic and overtly expressive. It is SATB (A-1742 .75) in these that the importance of text is so Take These Wings - Kupferschmid, Besig - Touching lyrics set over a flowing clearly shown. (The text painting in accompaniment Forconcertorgraduation. SATB(A-1743 .85), SSA(B·503 .85), SAB Werfs "Chi salira per me" is simply (D-312.85) wonderful.) By late in the century, how­ When I'mSingin'This Songl-Price, Besig -Lots of"doot-doodle-doofs" with a"shuffle ever, such practice had become more along" style. SAB(D·311 .80), Two-part treble (E-288 .80) mannered and exaggerated (Gesualdo's All Shawnee Press music is available from the publisher oryour favorite music dealer. "Resta di dormi noia"), and the music it­ Single copies available on 30 day approval from the publisher. self became rather elaborate (Marenzio's "Solo e pensoso"). However, the editor apparently has not chosen his material with an eye to­ ward demonstrating historical develop­ ment. He does not mention it in his iii A SUBSIDIARY OF WARING ENTERPRISES. INC. 19 DELAWARE WATER GAP, PENNSYLVANIA 18327 Foreword, nor does he classify or date cj 12/84 the selected titles. Instead, he merely

DECEMBER 1984 Page 25 University of Cincinnati One of America's foremost schools of the arts COLLEG ·C NSER ~TORY OF MUSIC

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A resource book for children in church and school on the life and music of the great master. Compiled and edited by Mary Nelson Keithahn with material by Dorothy Christopherson, Helen Stensrud and Richard Fleming. Extensively illustrated by Doris Friedell. Contents include genealogical chart, illustrated time line, map, biographical fact sheet, illustrations of instru­ ments, musical words and definitions, crossword puzzle, hymn studies on Bach chorales, dramatic script on Bach's life, designs for puppet characters and banners, worship services tied into the liturgical year, design for large Festival Service/Program, bibliography of related sources, story of Bach with recorded excerpts from his music and a variety of activities to enhance the services and study plans. CGBK-33 $19.95 Order from your favorite music store or Choristers Guild Distributor, The Lorenz Corp., 501 E. Third St., P. O. Box 802, Dayton, Ohio 45401 (513-228-6110).

Page 26 THE CHORAL JOURNAL Presbyterian Church and the First Presbyterian Church of Fullerton. Under Thorsen's leadership, the University Singers of California State University, Fullerton, received national recognition, performing for the national conventions of MENC and MTNA. In 1977 the choir Candidates for I sang for the ACDA National Convention in Dallas, Texas. Concert tours have included visits to most of the western states, Hawaii, National Office Canada, and Europe. In recent years the University Singers have ap­ peared with the Los Angeles Philharmonic Orchestra under the direction of Zubin Mehta and Carlo Maria Giulini. Thorsen received music degrees from the University of Redlands and Occidental College. He has studied conducting with Howard Swan, Robert Shaw, Julius Herford, Richard Lert, and Helmuth Rill­ ing. He is a Past President of ACDA's Western Division and has serv­ ed as President of the Choral Conductors Guild of California. He presently conducts the CSUF University Singers, the California Bach Choir, and the Children's Choir at Acacia Elementary School in Fullerton. He has conducted all-state and honor choirs throughout the United States and has served on the faculty of the International Bach Academy in Stuttgart, Germany, for five summers. For the past thirteen years he has been associated with the Oregon Bach Festival as chorus director and assistant to Helmuth Rilling. David David Professional affiliatioons include ACDA, MENC, CMEA, and Stutzenberger Thorsen CCG. He is also a member of Pi Kappa Lambda and Phi Mu Alpha Sinfonia.

Thomas R. Smith/Candidate for Treasurer-Elect

Thomas R. Smith, Director of Choral Activities at Auburn Univer­ sity, is a native of Decatur, Alabama, having graduated from Decatur High School in 1961. In 1964, he received the Bachelor of Music degree in Church Music from Samford University; in 1969, the Master of Arts degree in Music Theory from the University of Iowa; and in 1972 at the University of Colorado, the degree Doctor of Musical Arts in the Literature and Performance of Choral Music. Smith taught five years in the Fairfield City School System, Alabama, as Choral Director and Vocal Music Supervisor prior to his Thomas R. Robert E. coming to Auburn University. In addition to his duties as Director of Choral ActiVities, he teaches choral conducting, choral literature, Smith Snyder choral techniques, and choral arranging. Smith has had choral works published and has frequently served David Stutzenberger/ Candidate for President-Elect as adjudicator, guest conductor, and choral clinician. He toured Europe as conductor with America's Youth in Concert in the summer David Stutzenberger is currently Director of Choral Activities at the of 1983 and with the Auburn University Concert Choir and Univer­ University of Tennessee, Knoxville. In addition to conducting the sity Singers in 1974, 1977, and 1984. He conducted the Auburn Concert Choir and the UT Singers, he heads the graduate choral University Singers in a performance at the 1984 ACDA Southern conducting program at the university. Before joining the UT faculty, Division Convention in Atlanta. Smith is a member of Phi Mu Alpha he served as Director of Choral Activities at Shenandoah College Sinfonia, Music Eductors National Conference, and ACDA. In and Conservatory of Music. Stutzenberger received his B.M.E. de­ ACDA he is an Alabama State Past President, a Past President of the gree from George Peabody College, his M.S. degree in Music Edu­ Southern Division, and, currently, the Program Chair for the 1985 cation from the University of Illinois, and his D.M.A. degree in ACDA National Convention in Salt Lake City. Choral Conducting from the University of Maryland. Stutzenberger has appeared frequently as adjudicator, choral con­ Robert E. Snyder/Candidate for Treasurer-Elect sultant, and guest director of community and honor choruses. As a member of ACDA he served as President of Virginia ACDA, as Pro­ Robert E. Snyder has been Director of Choral Activities at Eastern gram Chair for the 1976 Southern Division Convention in Williams­ Illinois University in Charleston, Illinois, for fifteen years. As a Pro­ burg, as Southern Division President (1977-1979), and as Program fessor in the EIU Music Department, he directs the EIU Concert Chair for the 1981 National Convention in New Orleans. Choirs Choir and Oratorio Chorus and teaches choral conducting and under his direction have performed for national radio and television voice. as well as on concert tours of Europe, in performances at division Snyder is a graduate of Capital University and Trinity Lutheran conventions of ACDA and MENC, at the National Gallery of Art, Seminary in Columbus, Ohio. He received the M.M. degree from and for the John F. Kennedy Center's Haydn Festival. In addition to the University of Colorado and the Ph.D. degree from the University ACDA, he holds membership in Phi Mu Alpha, Pi Kappa Lambda, of Iowa. and MENC. While serving as president of Illinois ACDA, Snyder was convention chair for the first state convention and initiated the state newsletter. David Thorsen/Candidate for President-Elect He is currently President of the Central Division; he served as con­ vention chair for the successful Central Division Convention that was A founding member of the Department of Music, David Thorsen is held in Chicago during February of 1984. Department Chair and Director of Choral Activities at California The EIU Concert Choir has toured Europe three times and has State University, Fullerton. Prior to his University appointment in sung for professional music conventions including MENC, IMEA, Il­ 1960, he taught choral music at Pasadena City College, John Muir linois ACDA, and the 1976 ACDA National Convention in St. High School, and McKinley Junior High School. He has also served Louis. Snyder has served as adjudicator and director of festival as Minister of Music in several churches, including the Pasadena choruses throughout the mid-West.

DECEMBER 1984' Page 27 REN ' 5 Stephen Ortlip is the Chairperson of the cit•-ld Southern Division ACDA Committee on LUCINDA MOSHER Children's Choirs and the organist-choir­ ;;;;;;;;;;;;;;;;;c 0 RA .CORN ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; master for the Decatur, Georgia, Presbyterian It l ER Church. For eighteen years he directed the This column is part of the work of.the National Committee on Children's Choirs. Contributions, sug­ Chattanooga Boys Choir. In 1975, he gestions, and correspondence are welcome and should be sent to Lucinda Mosher, Pomfret School, founded the Young Singers of Callanwolde. Pomfret, Connecticut 06258. Phone (203) 928-7693. This auditioned group of boys and girls from the Atlanta area have concertized extensively Factors in the Success throughout the United States and Europe and have been featured with Robert Shaw and the Atlanta Symphony for eight succes­ of a Children's Choir sive years. J. ------bv Stephen Ortlip many criteria, two most obvious of which What is a successful children's choir? predominant success are entirely real­ are quite general ones: a successful choir Total and permanent success is surely a istic possibilities. These are successes to is (1) one in which the singing children dream, a perpetual quest. However, which all of us are entitled. Success ad­ are haVing a meaningful and enjoyable relative success, partial success, and mittedly must be considered in terms of experience and (2) one which communi-

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Cheque America, the Beautiful S.Ars., piano, organ =Honey Order also available with orchestra Amazing Grace S.ArS., piano or organ Name. _ Jesus Walked This lonesome Valley SAr.B., piano or organ Address _ My Shepherd Will Supply My Need SAS. Go, Tell It on the Mountain S.Ars. with piano or organ Rock of Ages S.Ars.

Mail to: America, the Beautiful-single copy $2.50 ea. Professionally copied and bound. -multiple copies $1.77 ea. Materials available from the composer: All others-single copy $1.50 ea. Nancy Wertsch Postage and handling $1.50 924 West End Ave.lApt. 81 145 A SOUTH DRIVE, TORONTO, ONTARIO M4W 153 20% discount on orders of twelve copies New York, New York 10025 or more plus shipping charge. Telephone (212) 865-6903

Page 28 THE CHORAL JOURNAL cates meaning and enjoyment to its lis­ 4. Understanding and controlled execu­ b. Syllabic and phrase rise and fall tening audience through the selections tion of rhythms c. Sense of balance and blend which it interprets. Our musical con­ 5. Diction d. Responsiveness to director's signals science notwithstanding, success must a. Full-bodied vowel sounds running It is fortunate and reassuring that the de­ not be determined in terms of perfection. the gamut from ee to 00 Rather, success may lie in a singing pro­ b. Correct treatment and placement mand to satisfy a listening audience with gram which satisfies the musical needs of of consonants enjoyable and appropriate music well­ both singers and audience. Indeed, per­ 6. Expressive understanding and sensi­ performed becomes powerful motivation fection is the underlying ideal - the tivity for mastery of the above extensive list. sound-image - toward which director a. Dynamic variation (Continued on page 35) and singers, to the best of their ability, are moving. Let me clarify the three modes of suc­ cess mentioned in the opening para­ graph. Relative success measures the current performance level against the past. Ongoing improvement in one or more areas constitutes relative success. Partial success refers to the situation where, although deficientin some aspects of performance, a choir does well in other aspects. Predominant success ap­ plies to general command of the perfor­ mance medium and implies sufficiently favorable response of singers and audi­ ences to justify continuance of the chil­ dren's choir as an ongoing effort. How do we then provide for the chil­ dren a "meaningful and enjoyable sing­ ing experience," and how do we get our children's choir to "communicate mean­ ing and enjoyment to its listening audi­ ence"? Very happily, it is the necessity to satisfy the latter audience goal which be­ comes the key to achieving the former goal with the children. There are tremen­ dous motivating force and meaning be­ hind performance demands set by a dis­ cerning and knowledgeable director. Further, the most genuine enjoyment for the singer, child though he/she be, is in complying with the demands of the music as insisted upon by the director. Let us look at some of these. 1. Identify thoroughly with the text sense It behooves the director to select carefully music and text in every IIChurch Music Digest" respect apropos to the ages, abilities, '" the complete Music Reference Guide and interests of children and in keep­ • Now.. Jor the first time, you will find music reviews ofALL publishers under one cover in the ing with the performance situation. new bi-monthly Church Music Reference Guide... "Church Music Digest", the only periodical 2. Mastery of the physical and vocal de­ directed exclusively to church choral and handbell music literature. • At your fingertips, you can have a complete bibliography plus a descriptive-review ofboth new tails releases and standard music literature for your church choir. a. Body position comfortably erect • Cross-indexed by title, composer, use, Scripture reference and publishers, are given for each b. Breath action well controlled; sup­ listing. • Over 100 Reviews and Listings ofAdultIYouth Choral and Handbell Music in each issue, plus ported, vital tone. condensed articles about composers/arrangers and style ofmusic performance. c. Relaxed larynx area, with loose • SUBSCRIBE NOW! jaw and tongue, allOWing space in • DONT MISS A SINGLE ISSUE mouth to resonance. • $12.95 for 1 year subscription (6 issues) d. Free sense of frontal and head res­ (SubscribelS outside the U.S.• add $6.50 (or postage and handling charge! onance r------Fill-in coupon and send with 3. Solid command of the pitch gamut Name.e _ check or money order to: I a. Sensitive unison-tuning I Church'-- _ b. Accurate scale-line singing both up "CHURCH MUSIC DIGEST" p.o. Box 43247 s and down Cincinnati, Ohio 45243 II Addres;5..------c. Chord and interval tuning (513) 271-0888 ~ ~M o~

DECEMBER 1984 Page 29 RESERVATION DEADLINE: FEBRUARY 7, 1985 HOUSING REQUEST fORM ACDA NATIONAL CONVENTION TEMPLE SQUARE/SYMPHONY HALL - SALT LAKE CITY, UTAH MARCH 7-9, 1985 Reservation requests are handled on a first-come, first-served basis by the Salt Lake Valley Housing Bureau up until the reservation deadline, FEBRUARY 7, 1985. Rooms are assigned according to receipt of requests and availability of the hotel requested. Reservations are confirmed by the assigned hotel. If a deposit or credit card guarantee is required, it will be requested by your hotel. Do not send a check with your housing form. After your reservation is confirmed, changes and cancellations must be handled directly with the Salt Lake Valley Convention Bureau. Hotels and rates are listed below. Please note that room rates do not include applicable taxes. Please mark your preferences (1, 2, 3). CHOICE HOTEL RATES: 1 PERSON 2 PERSON 3 PERSONS 4 PERSONS Westin Hotel Utah (Convention Hdqtrs) $54.00 $54.00 Salt Lake Hilton 48.00 48.00 $56.00 $56.00 Marriott Hotel 50.00 50.00 56.00 56.00 Salt Lake Sheraton 55.00 55.00 65.00 65.00 Shiloh Inn 30.00 30.00 35.00 35.00 Temple Square Hotel 32.00 32.00 ROOM TYPE REQUESTED PLEASE LIST EACH PERSON OCCUPYING THE ROOM: 1 person 1 bed 2 people - 1 bed 2 people - 2 beds 3 people - 2 beds 4 people - 2 beds additional rollaway (The Housing Bureau cannot assign roommates.) ·Arrival Date and Time ---,- Departure Date, _ Confirm to: _

Address ______--'- Telephone-c-(_---' _ City --'- ,State Zip, _

Telephone reservations will not be accepted. Return this form to: ACDA HOUSING BUREAU, c/o Convention & Visitors' Bureau, 180 South West Temple, Salt Lake City, Utah 84101 Do you have special needs? ---,- _

PREREGISTRATION DEADLINE; FEBRUARY 22, 1985 (Must be postmarked by February 22) REGISTRATION fORM ACDA NATIONAL CONVENTION Temple Square/Symphony Hall - Salt Lake City, Utah March 7-9, 1985

PREREGISTRATION FEES () ACDA Member (Active/Life) $ 35.00 Name _ () ACDA Member (Retired, Student, $ 20.00 Spouse) Home Address _ REGISTRATION AT CONVENTION () ACDA Member (Active/Life) $ 45.00 City/State () ACDA Member (Retired, Student, $ 25.00 Spouse) Institution _ Nonmember Registration $ 65.00 Institution Address DUES PAYMENT ______Zip, _ Circle: New or Renewing City/State () Active - Associate $ 25.00 () Life Member $500.00 Spouse or Fammily Member ($50.00 Minimum) Student $ 10.00 OFFICE USE ONLY CkNo, _ Retired $ 7.50 AmI. Rec. $, Date _ Total Amount Enclosed $, _ Please make check or money order payable to: AMERICAN CHORAL DIRECTORS ASSOCIATION - Mail to: ACDA, P.O. Box 6310, Lawton, OK 73506

Page 30 THE CHORAL JOURNAL ------

The final session of the 1985 ACDA National Convention will feature the highly acclaimed Mormon Tabernacle Mormon Tabernacle Choir Choir. Singing in their home perform­ ance hall, the Tabernacle on Temple Closes 1985 National Square, the choir will be conducted by Convention Program Jerold Ottley. The story of the Mormon Tabernacle Choir is so closely linked with the history of the westward trek of the Church of Jesus Christ of Latter-Day Saints that to speak of one without the other is an im­ pOSSibility. Although much of this history is associated with frontier living, covered wagons, and the colonization of the vast lands of western America, there is also in its chronicle a rich heritage of culture and refinement. The Mormons were always a singing people. In worship from the Church's first meeting in 1830, the Mormons sang and developed choirs. The first Mor­ mons to travel from the East more than a century ago set their voices ringing even in travel. Their leader Joseph Smith murdered, their properties in Nauvoo, Illinois, taken, the Mormons set out on a 1,500 mile journey that took them to the great salt valley west of the Rocky Moun­ tains. Some traveled in covered wagons, the finest on the globe. Finished in 1867, the organ, while other essential materials some in handcarts. Others rode horses, it is today's Salt Lake Tabernacle. A new came from the East. It took about twelve many walked. But they all sang. organ placed in the Tabernacle for the years to build the instrument, parts of The Mormons were called the "Sing­ first time in 1867, was completed in which are still used. ing Saints," and surely they knew that 1874. Yellow pine was hauled by ox The Choir's reputation has spread far the joy and encouragement engendered team from southwestern Utah to build beyond Salt Lake City. InVitations from by singing would help the physical stam­ ina they needed for their grueling ordeal. When at last the first settlement at what has become Salt Lake City was es­ tablished, music preempted a prominant place. Space in the Bowery, a crude, temporary meeting house built less than

two weeks after the first emigrants "...A delectable Christmas present... II reached the Salt Lake valley, had been Church Music Quarterly set aside for the chOir, and the first UK Journal of RSCM program by the original of what would later become the famed Salt Lake Mor­ mon Tabernacle Choir of today was sung there on Sunday, August 22, 1847. In 1849 John Parry, an English­ man, came to Utah and became the Choir's first regular director; in 1852 the choir moved into an adobe bUilding ­ the "Old Tablernacle" - which was THE SACRED MUSIC OF JOHN RUTTER furnished in 1857 with a pipe organ built The Cambridge Singers conducted by John Rutter by another Englishman, Joseph Ridges. The organ, built in Australia, was This Digital stereo album or cassette is available at $9.95 from: brought aboard a chartered immigrant Clarion Choral Foundation ship to America. Twelve mules pulled P.O. Box 31366, Omaha, NE 68131 Please add $2 postage and handling for the the wagon-carted organ from San first record ordered and 50¢ for each Pedro, California, to Salt Lake City. In additional record ordered up to 10. 1863, only sixteen years after the Saints' ~E D Album --D Cassette __ first meeting in the Bowery, the Number Number Mormons started to build a new auditorium, which developed into one of

DECEMBER 1984 Page 3'1 all parts of the country take the Choir to Philadelphia with Stokowsky and Or­ ous musical recordings. Some 120 rec­ concerts in major American cities, to ex­ mandy, the New York Philharmonic un­ ords of choral masterpieces and religi­ positions and world fairs, to the White der Leonard Bernstein, and the Utah ous, folk, patriotic, and holiday songs House for numerous inaugurations, as Symphony with Maurice Abravanel. have been released on Columbia or CBS well as to the major concerts halls in the In 1929, the first radio broadcast of the Records label. The choir has recorded country. Choir members toured Europe Mormon Tabernacle Choir was aired with five orchestras: the Columbia Sym­ in 1955 with outstanding notices from all over NBC. Today millions still hear the phony Orchestra, the New York Philhar­ parts of the continent. American tours weekly broadcast of music and the monic, the Philadelphia Orchestra, the give the Choir opportunities to perform spoken word over CBS and CBS-TV. Royal Philharmonic Orchestra of Lon­ not only in choraL recital but also with To its international public, however, the don, and the Utah Symphony. major orchestras and their conductors: choir may be best known for its numer- In 1959, the Choir's recording of the "Battle Hymn of the Republic" won a Grammy award. CBS Records calls the Mormon Tabernacle Choir the largest selling recorded choir in the world: the company presented the third gold record to the Choir in 1980, in recognition of World's Largest Selection their records that have sold over one mil­ lion copies. of Published Music The Choir's repertoire - which in­ cludes some three hundred choral works at anyone time ranges from the Call Toll Free 800-621-4496 mildly avant-garde to better pop-com­ mercial music, from traditional Christian music to the choral-orchestral music of In Illinois Call 800-572-3272 the concert hall. The three-hundred-plus nonpaid singers who make up the Choir CARL FISCHER OF CHICAGO follow a stringent musical routine estab­ lished by the current director, Jerold Ott­ ley. Ottley, a native of Salt Lake City, has been music director of the Choir since 1975. His career with the Choir was preceded by many years as teacher and conductor in the schools and ----NEW ---- churches of the area. He is currently Ad­ junct Professor ofMusic at the University Two Words of Jesus of Utah. L. L. Fleming SATB 11-2209 1.75 Dr. Ottley holds degrees in music from o Loving Savior Brigham Young University, the Univer­ GassmaniGloesch SATB, strings Complete score 11-2231 2.00 sity of Utah, and the University of Ore­ Choral score 11-2232 .75 gon. In 1968, as a Fulbright student, Dr. Instrumental parts 11-2233 3.00 Ottley studied conducting, voice, and Come, Let Us Sing choral performance practice at the Acad­ Donald Busarow SATB, C inst., tpt., opt. congo emy of Music in Cologne, West Ger­ Complete score 11-4624 .85 many. Choral score 11-4625 .40 Ottley has designed a training program Only-Begotten, Word of God Eternal to raise the already high standards of the Barry L. Bobb SAB, brass, timp. & sop. glock, opt. congo Choir; all Choir members are required to Complete score 11-2206 .85 participate throughout the season in Instrumental parts 11-2207 3.00 regular workshops. Although the Mor­ As a Stranger mon Tabernacle Choir is one of the larg­ Bruce Vantine SATB, narr. est choirs in the country, there is always Complete score 11-2242 .95 a waiting list of applicants. Choral score 11-2243 .80 The American Choral Directors Asso­ Fairest Lord Jesus ciation is pleased to have the Mormon Blythe Owen SAB 11-2245 .80 Tabernacle Choir on the closing program All Hail the Power of Jesus' Name of the 1985 National Convention in Salt Walter L. Pelz SATB, brass, timp., opt. congo Lake City. Complete score 11-2226 .95 Instrumental parts 11-2227 5.00 AMERICANA EAST 426 55th St, Box 1209 Minneapolis MN 55440 (formerly The East Coast Young American,,) 57 E Main St, Columbus OH 43215 EXciting Broadway Entertainment 3224 Beverly Blvd, Box 57974, Los Angeles CA 90057 Bookings /301-667-9082 A Bill Myers Production 2001 3rd Ave, Seattle WA 98121

Page 32 THE CHORAL JOURNAL cal Quarterly LXVIII (July 1982), p. plagued, in spite of his great skill, by E5EARCil 398, self-doubt that prevented him from The thesis of this article is announced completing a work for ten years may RE RT in the title: that the work in question and well come as a revelation to some. In the process by which it evolved show addition, the problems with which he wrestled were timely ones in the clearly the romantic aspects of RICHARD COX Romantic era - the synthesis of text School of Music Mendelssohn's creative personality. On and music, the expansion of the or- University of North Carolina p. 408, Seaton writes: Greensboro, North Carolina 27412 That Mendelssohn should have been

It has been some time since we con­ MAKE YOUR PLANS NOW TO ATTEND THE ANNUAL sidered research into nineteenth­ century music in this column. Mean­ Great Western Choral Festival while, though this research does not match the quantity generated in May 10th and 11th Renaissance and Baroque research, Oklahoma City, Oklahoma there have been importantcontributions The Price Per Person Is Only $16.95 and Includes the Following: in this area. Several articles in The * "First Class" Choral Competition * Superb Performance Facilities * Three Nationally Acclaimed Judges * Recorded Comments From JUdges Musical Quarterly will interest choral * A Fun-filled Day At "Frontier City USA" * Awards Ceremony musicians. For More Information Call: Michael Shores, Festival Director (405) 789-9143 or Mall the Coupon Below. Sponsored by the Western Heights Chorus Association A. C. Howie. "Traditional and Novel Elements in Bruckner's Sacred Music." Mall to: Michael Shores, Festival Director Great Western Choral Festival The Musical Quarterly LXVII (October 6709 Cherry Place 1981), p. 544. Oklahoma City, Ok. 73127 This highly informative and superbly Director Name •..... ,, •...... ••...... ,, .• , organized article provides an overview School .. of Bruckner's sacred music, with special emphasis on the Masses in B-flat, D Address .....•..... " •...... minor, E minor, and F minor. Howie City , •..... ", State , •.. develops with remarkable lucidity the Phone , .•...... ". Zip Code , .• composer's background in the church music of south Germany and Austria in the early nineteenth century, the older traditions of plainsong and Renaissance polyphony, and the great sacred works VAUGHAN WILLIAMS of the Viennese classicists. Analyses of the works themselves are organized Five Mystical Songs around demonstrations of such points For Baritone, Chorus and Orchestra as these, with examples used to il­ One ofthe great 20th century;,wi:[rksif8fJrli'efITi{iiYt.en Season, Vaughan Williams' lustrate the author's statements. Among rhapsodic setting offive Geotge,:·.rtqi:JJ?i:t:;;iii:y~ti¢d) poems is available in many what Howie refers to in his title as novel transcriptions and separate p'U'blii.:'i$ns;,,'S(r .,,,~ them new, elements are Bruckner's careful atten­ !,,~ \(\:;,~:~ - ----'j (, L'j S~':;- ~j Original version for S{\-*< 'rus:(,,'ne solo & Orchestra tion not to allow the declamation or the Piano/~b~~i;~69i~";:~i-05Q}:S)H meaning of the text to be subordinated 4:95 to "the demands of absolute music" and his use of the "climactic process." Bruckner was one of the few com­ n'w~ ::~:::J:::~:I~~'is~lli!~£:9-,m\,ton posers of sacred music to solve suc­ cessfully the problem of verbal-musical new-7'Versio ., '.' ;J1~~5t~~~8t i~i7jtiJ,sgn7 .'" '" .,' ton synthesis; he accomplished this in his new f" ",,>,:<.,;,~~,;oi~~§~mR~ ';(~?:~;Jlr~9;".',,;,J}J .Jl1.s.tru111~!~t{l.l'5materla P}!!!';Ql1.;xental';,2i mature works largely through his re­ .~1-'." .._-"~,;=;"_.~ .<;c. '-'''q u/-}",~.~-::~~~;,~:<,:: ~t:t placement of classical symmetry and ;Avill\ilblil periodicity by a highly individual tech­ ,~l:>l/-\/0";-;;"'::~\ir,-i("Y._.'. c> ". __ ',- \/~ FIVE MYSTICAL sq~<;i: ""I ~'lih;1Kai1,I'§:part (1.5029) .95 nique of melodic development. The '*¥f~orner formal principle par excellence in all ANTIPHON (Let AllliHiV J4}, ." Sing) No.5 :,~iJ[~2) .Bruckner's later, works is the climactic SATB & qrga·:.?i,a. 1.35 Unison & Oigan26i:;;Elah6:f(3:3'123) .95 process (pp;,55'4-5). neW-7 THE CALL arr Percival, No.4 Careful perusai of this article, scores in SATB & Piano (1.5245) .65 hand, would certainly benefit anyone Solo Voice & Piano (1.5120) 2.00 involved with the study or performance of Bruckner's sacred music. Available from your dealer or from GAlAXY MUSIC CORPORATION c/o B.C. Schirmer Music Company. 112 South St. Boston, MA 02111 Douglass Seaton. "The Romantic Direct rental inquiries to GALAXY MUSIC CORPORATION, Mendelssohn: The Composition of 131 West 86th St. New York, N.Y. 10024 Tel. (212)874-2100 Die erste Walpurgisnacht." The Musi-

DECEMBER 1984 chestra because of the influence of the solutions to his own emotional prob­ Among relatively new historical edi­ literary content, and the importance of lems. The points are cogently made, tions of nineteenth-century music is the thematically cyclical form. and it is refreshing to find a dis­ first publication of the Mendelssohn All this is successfully demonstrated by tinguished musicologist unabashedly cantata 0 Haupt vall Blut and Wunden, the article, which describes the compo­ pursuing the composer's emotional in­ edited by R. Larry Todd, appearing as sition of one of Mendelssohn's most volvement with a composition while at Volume IX in the Collegium Musicum: dramatic but least performed choral the same time successfully avoiding any Yale University, Second Series (Madi­ works. One finishes this article with a trace of thesentimentality that once at­ son: A-R Editions, Inc., 1981). This is a determination to examine again this tended such considerations. three-movement cantata scored for four fascinating piece. Two recent dissertations deal with pairs of woodwinds, strings, SATB nineteenth-century choral music. chorus, and bass solo. The opening Aubrey S. Garlington, Jr. "Harzreise Craig Don Jessop. An Analytical movement is a chorale fantasia with als Herzreise: Brahms's Alto Rhap­ Survey of the Unaccompanied Choral Vodmitation and other Baroque tradi­ sody." The Musical Quarterly LXIX Works for Mixed Voices by Felix Men­ tions. An aria for bass on the second (Fall 1983), p. 527. delssohn-Bartholdy. DMA, Stanford stanza of the chorale text varies frag­ As with the preceding article, we are University, 1981. Dissertation Abstracts 41 (May 1981), p. 4536-A. ments of the melody. The final move­ reminded of the overwhelming impor­ ment is a foui-voice chorale with or­ tance of Goethe in the German vocal chestral interludes. It is of course in­ music of the nineteenth century. Here John Joseph Silantien. The Part-Song teresting to see an unknown work by a the author explores the conditions in England, 1837-1914. DMA, Uni­ versity of Illinois at Urbana­ major choral composer, even though under which the great poet wrote "Harz­ this would not appear to be one of Men­ reise im Winter" and those under which Champaign, 1980. Dissertation Abstracts 41 (May 1981), p. 4537-A. delssohn's most inspired works. Intro­ Brahms set three stanzas of this poem in ductory notes are highly informative re­ his "Alto Rhapsody." In both cases the Both these dissertations include studies of the circumstances surround­ garding the circumstances of its com­ emotional state that preceded the crea­ position and the manuscript copies. tion is sensitively probed. The further ing a body of choral literature and analysis of the Brahms work demon­ analyses of important examples. Both strates ways in which the composer, make a plea for a reexamination of the Appearing as Series I, Volume 2 of through text repetition and musical music and a restoration of the best of it the Franz Schubert: Neue Ausgabe structure, suggested his personal in­ to the standard repertory. samtliche Werke is a new edition of the volvement with the poem as offering third and fourth Masses, in, respective­ ly, B-flat and C, edited by Rossana Dalmante and Pier Paolo Scattolin (Kassel: Barenreiter-Verlag, 1982) . These two Mass settings, composed be­ teen the well-known settings in G and A-flat, are somewhat more elaborate in CHORAL OUTFITS scoring and structure than the former At Southeastern Career Apparel. our but considerably less imaginative than the latter. It is good to have authentic first commitment to our customers is new editions of these works. All the .quality. We feel the workmanship of our modern editorial amenities are ob­ apparel is second to none. served, including suggested realization We also take great pride in offering of the ornaments. Editorial comments at our customers a wide variety of styles, the beginning and end provide informa­ colors and sizes. tion about sources, variants, and perfor­ III Long and Short Dresses mances. Included also is a line-by-Iine III Blazers, Suits, Vest Shirts, Slacks chart of the standard text of the Or­ and Ties dinary of the Mass with the texts of the two Schubert settings. The puzzling III Blouses, Skirts and Sweaters question of Schubert's omissions is ad­ 11III Matching Outfits for Boys, Girls, Young dressed. Although the reasons for these Men and Women cannot be known for certain, Dalmante 11III Choir Robes suggests that to dismiss these omissions 11III Tuxedos as mere carelessness may be too simple REASONABLE PRICES III 4-6 WEEKS DELIVERY and that one must also consider Schubert's broad interests in the roman­ tic and humanistic literature and philosophy of his time. For the record, other choral editions included in the Neue Ausgabe of Schu­ bert's works are Series III, Volume 4, containing the unaccompanied part songs for equal voices (1974), and Series I, Volumes 3a and 3b, the two versions of the Mass in A-flat (1980).

Page 34 THE CHORAL JOURNAL AUGSBURG PUBLISHING HOUSE cltoRAl. "Gracious spirit dwell with me," ar­ ED.CONANCASTLE ranged by K. Lee Scott, two-part mixed REVIEWS chorus, organ, #11-2198, 75¢. This anthem is excellent for the person. Augsburg Publishing House GIA Publications Royal School of Church Music looking for music that is usable for the small as 426 S. Filth Street 7404 S. Mason Avenue Addington Palace Minneapolis. MN 55415 Chicago, IL 60638 Croyden, Surrey CR9 5AD well as large choir without sacrificing musical England quality or textual depth. Based on the 15th­ Beckenhorst Press Gilmer Square Music century hymn melody "Adoro te devote," P.O. Box 14273 1057 S. 1100 East E. C. Schirmer Music Co. Scott adds a beautiful and lilting accompani­ Columbus. OH 43214 Salt Lake City, UT 84105 112 South Street Boston, MA 02111 ment. The choral harmonies build just Belwin-Mills Publishing Heritage Music Press enough to add interest Without seeming 25 Deshon Drive 501 E. Third Street G. Schirmer forced. The piece begins in unison, adds an Melville. NY 11747 Dayton, OH 45401 866 Third Avenue obligato descant in the women's parts, and New York, NY 10022 Boosey & Hawkes Hinshaw Music then goes into a two-part canon at the octave. 200 Smith Street P.O. Box 470 Van Ness Press The anthem finishes on a unison restatement Farmingdale. NY 11735 Chapel Hill, NC 27514 (address unknown) of the first line. slower and quieter, as a whispered prayer: "Gracious spirit, dwell Alexander Broude McAfee Music Walton Music 225 West 57th Street 25 Deshon Drive P.O. Box 470 with me, I would be like Thee." New York. NY 10019 Melville, NY 11747 Chapel Hill, NC 27514 "Gracious. spirit" could work in many dif­ ferent settings within worship - as an introit, Carl Fischer Novello Publications processional, call to prayer, Communion Presser Place 56-62 Cooper Square It New York. NY 10003 Bryn Mawr, PA 19010 hymn, or dedication. is possible to involve congregation, as well as utilizing the piece in a Gemini Press Oxford University Press concert setting. 132 W. 31st Street 16-00 Pollitt Drive Glenn E. Wonacott New York. NY 10001 Fair Lawn, NJ 07410 "The gift of life," Walter L. Peltz, SATB, organ and handbells, #11-2260, 80¢. ALL MUSIC PUBLISHERS SHOULD SEND THEIR OCTAVOS FOR REVIEW TO: This tune is in the form ABACADA. The ACDA National Headquarters, P.O. Box 6310, Lawton, Oklahoma 73506 handbells and organ are used sparingly throughout the A sections while the other sec­ Members wishing to review choral publications for The Choral Journal should contact: Charles Thomley, 312 Wisconsin Ave., Madison, WI 53703. tions have extensive accompaniments, especially the C section which is in a §meter.

Children's Choral Corner (Continued from page 29) The director's continuing challenge is to hurch~usic juggle, balance, vary, juxtapose, and correlate all of the above in the prvcess of teaching the music literature. Often I am asked by musicians how lfnternational \ they might start a children's choir. My first suggestion is that an existing need (or use) for a single performance be horal1J1estival foreseeable. It may be a Christmas con­ cert, a centennial, a festival, an opera, A Competitive Festival for or a symphony requiring a trained children's chorus. A choir "for its own Amateur Choirs and sake" is sometimes successful, but more rarely so. A school or a church is in a Choral Groups strong position to specify its own need for a children's choir. March 22, 23, and 24, 1985 A most important element in the suc­ cess of the choir is a sense of individual LIMERICK, IRELAND musical responsibility on the part of each child. This is established at the time the For information and child is interviewed and auditioned for brochure contact: , admission to the group. The entire case SHANNON DEVELOPMENT co.' _I for performance standards rests with this 590 Fifth Avenue liP\'~P~I matter of individual responsibility. Once established, periodic evaluation of indi­ New York, N.Y. 10036 viduals follows during rehearsals, and 212 581-2081 the trainability of the group becomes a reality. Once they are positioned for the • I training process, success will simply be a ClI::::)M=!"'JT matter of time and experience.

DECEMBER 1984 Page 35 The A section serves as a means of unifying This selection can be sung by a young choir A madrigal for five voices, "Hence, stars" the piece. There are numerous accidentals with no problems. All vocal lines are well will challenge the high-school ensemble. The and meter changes which enhance the beauty within the range of the intermediate school independent vocal entrances and the chang­ of this number. The text makes this song suit­ singer or the general chorister in a high ing major/minor tonality will require careful able for an advanced church choir. It could school. rehearsing. As in ensemble music of this also be used for baccalaureate by an ad­ This setting provides an interesting respite period, the first and second soprano often vanced high-school choir. If handbells are not from the more seasonal setting of the familiar cross voices. available, a piano should be substituted since text. This is a fine selection for your ensemble's the important handbell part needs to be Gerald J. Luongo repertoire, and it is well edited. In an aside, played in order to enjoy the true beauty of this "0 sing ye," Michael Jothen, unison, key­ the editor feels the selection could be sung by piece. board, #BP 1128, 50¢. a festival-size chorus. I disagree only on the Sharon A. Kraus This crisply accented staccato melody basis that the lines are a little too delicate to be would appeal to school choirs as well as executed properly by any group other than a BECKENHORST PRESS church choirs. It is written within the range of small, well controlled ensemble. a ninth and has strong rhythmic drive. The "0 little town of Bethlehem," Douglas E. piano accompaniment is easy, and a section "Lobet den Herren, aile Heiden," Gallus Wagner, SAB, keyboard, #BP1211, 85¢. with snapping of fingers and slapping of thighs Dressler, edited by Don Malin, unaccom­ The melody/tune is an English folk song, adds fun to this joyful tune. This would be a panied, #2490, 75¢. "Forest Green." It is, therefore, not the tune wonderful addition to your repertoire! Deriving its German text from Psalm 117, with which everyone is familiar. Written in Karen Johnson "Praise the Lord, all ye nations," this sacred 4/2, the lines move in a horizontal manner, work is from Reformation Germany. The flowing quite easily. The harmonization is BELWINMILLS PUBLISHING ranges are suitable for a very good to ad­ diatonic and homophonic. The melody which vanced, mature high-school choir. The te~h­ is stated in the first 16 measures repeats "Hence, stars," Michael Este, edited by Don nical aspects are of medium difficulty. Some throughout, providing all parts the opportun­ Malin, SSATB, unaccompanied, #2488, attention must be giVen to a few rhythmic pas­ ity to sing either it or a slight variation. 75¢. sages which at first reading will cause concern. A few chromatic lines will require careful tuning. Carefully worked out, the final product is truly worth the effort. Although a The Musicwriter ® rehearsal piano part is written, the piece must fine quality typewriter, ­ be performed a cappella to insure the integrity of the style and period. The translation is quite preparing the world's music credible, but the· piece sings much better in for a quarter 1'P German. An excellent choice for festivals or century. And the competitions with your full chorus. TEMPOWATCH® Gerald J. Luongo the exact tempo as it happens. BOOSEY & HAWKES Mn&le PrInt COrporation for Infonnatlon contact 2450 Central Ave. Ten Children's Songs, Opus 1: 1. "The lily Boulder. Colorado 80301 has a smooth stalk," 2. "Dancing on the hill­ tops," 3. "Lullaby, Oh lullaby," 4. "Rosy 303·442·5500 maiden Winifred," (numbers 5 and 6 not re­ viewed), 7. "Ferry me across the waters," 8. "There's snow on the fields," 9. "A linne·t in a gilded cage," 10. "Boy Johnny," Gerald Finzi, l:D\~ar"a/Z/ZOil/ZCeS tde unison, keyboard, #6145-6154, 55¢ each. The lovely simplicity of this set of children's songs (in unison and two parts for treble FIRST AMERICAN EDITION voices) will be appealing to audiences as well [!/:7tCtiz/'tcd ~JCdtlet:z- as those performing them. The pieces are in major and minor modes alternately with THE RESURRECTION HISTORY meters varying from one piece to the next. f?r Evangelist, soli, SSATTB choir, strings, and keyboard There is contrapuntal treatment of the melodies in numbers 4, 7, 8, 9, and 10, and ::::7Cata/'C& * Edited and translated by David Margeson unison singing in numbers 1, 2, and 3. The folk-like melodies and simple texts will appeal * English and German texts to children of all ages. Ranges and tessituras are comfortable for the elementary voice. The * Suggested instrumental ornamentation by Mary piano accompaniments are not difficult. Your Murrell Faulkner choir will enjoy singing these songs about ani­ mals, children, and nature in old-fashioned * Translation of Schuetz's original preface, and preface settings which depict the joys and sorrows of for this edition with performance suggestions everyday life. Full Score-97-5826, Choir Score (3 choruses)-97-5832 Karen Johnson Instrumental Parts-97-5833 ALEXANDER BROUDE {, CALL TOLL FREE TO PLACE YOUR ORDER: 1·800·325·3040 Monday-Friday between "II est ne' Ie divin enfant," Gabriel Faure, 8 a.m. & 4:30 p.m. Central Time edited and arranged by William Sisson, In Missouri call 1·800·392·9031 ~ unison or two-part treble chorus, keyboard, #AB 1034, no price given.

Page 36 THE CHORAL JOURNAL This little work, premiered on Christmas, eyes, from whence comes my help." The most congregations, consider spending a few 1888, is a delightful arrangement of the well piece is well within the grasp of a good church weeks prior to the performance of this anthem known carol. Although Faure originally wrote choir. There is no divisi writing; it is basically to teach the chorale to your church body. it as a unison arrangement, the harmonies four-part with a number of two-part and Glenn E. Wonacott adapted from the accompaniment work very unison passages. It would serve well even well. This edition is lowered a whole step with a very small choir as long as all parts are GILMER SQUARE MUSIC saving the sopranos from having to sing gz covered. No great demands are placed on "Six Choral Sentences and Short too many times. This seems logical, for a light, any vocal parts, either in range or dynamics. Anthems." John Mitcheltree, SATB, lilting tone is needed for this piece which An occasional g2 in the soprano might test optional accompaniment, #CM-06, $1.25. should be sung by children and youth choirs. some choirs. Still this can be a challenging The six works presented in this miniature It would also add real freshness to a Christmas piece. A somewhat chromatic idiom and anthology include settings of texts from program by an adult choir. unpredictable harmonic progressions in the Ephesians, St. John, Wisdom, a setting of the The availability of both French and English organ could make it difficult to hear the other­ well-known "Irish blessing," and a short Latin texts makes the anthem accessible to choirs of wise easy vocal lines. This piece should add motet, "Domine, Jesu Christe," on a text writ­ all sizes and ambitions. The explanatory notes another lovely, singable, and functional ten by King Henry VI. at the beginning are very helpful. anthem to the repertoire for the church choir. The texts are set in straight-forward homo­ Faure original arrangement included an Loyd F. Hawthorne phonic style, often in thick divisi parts replete orchestral ensemble of oboe. bass, harp, with contemporary sounding major and cello, and organ. This arrangement omits "Concertato on 'Savior of the nations. minor seconds. Ranges are not excessive; for both these parts and the original instrumental come·... Stephen J. Wolff, SAB and congre­ example, the highest soprano note in any of interludes. With all the editions of this carol gation, organ, #G-2685. 80¢. the pieces is only f2. The lowest bass note is F, extant, why not include the specialness of This concertato is written on the chorale and the ranges in the inner parts are modest. the Faure touch, even if only by preserving melody "Nun komm, der Heiden Heiland," Due to the briefness of each piece, the the instrumental parts in a keyboard reduc­ and arranged in seven verses for choir and musical setting is limited to one statement of tion. Glenn E. Wonacott congregation. Wolff uses a variety of tech­ the text, intended to be sung a cappella with niques to bring out the musical line. In some the exception of the setting of St. John 14:27, CARL FISCHER verses the chOir is in three-part harmony, in "Peace I leave with you," and the Latin motet, others, in unison with the congregation. In "Domine, Jesu Christe.» These two pieces "Clap your hands." Emma Lou Diemer, one verse utilizing a technique which recalls have an optional accompaniment. SATB, keyboard, #CM 8194, 75¢. the Brahms motet, the sopranos take the Because the divisi parts appear in the three The staccato melody, begun by the melody in quarter notes while the men sing lower choral lines, the sentences and anthems women, is contrasted with a legato section the theme in half notes. The piece ends with are probably intended for large church choirs which is passed to the men. Dynamic levels the congregation singing the chorale melody with solid alto, tenor, and bass sections. The build as the choir sings unison with tremulo accompanied by the choir in a two-part setting of the text from Wisdom 3, "The souls . and arpeggio accompaniment. The choir descant. of the righteous," is interesting in its use of divides into four parts for the dissonant homo­ The Advent text ascribed to St. Ambrose shifting meters of 3/4,4/4, and 2/4 to main­ phonic middle section. These three sections profoundly deals with the coming of the tain the natural rhythm of the text. are repeated with varied voicings and Christ Child and his future suffering and Carl W. Smith textures, building in intensity at the end. What sacrifice. This anthem would be a fitting an exciting opening or closing concert piece offering in a variety of liturgical settings. It is HERITAGE MUSIC PRESS for the school or church choir! A good accom­ not difficult musically, and the flow of the panist would be required. harmonic and musical line make it especially "0 dance and sing this happy morn." Karen Johnson attractive for youth or young adult chOirs. Mary Lynn Lightfoot, SATB, keyboard, Because the chorale is probably unfamiliar to #H269-2, 75¢. GEMINI "Where shall I be?" arranged by William The 1985 Bach Tercentenary Calendar Grant Still, SSA, #GP-312, 65¢. The text of this simple yet expressive The perfect calendar to have or give for the International Bach Year spiritual arrangement speaks .of the first • Large'format-1211 x 2411 in full color trumpet call on the day of resurrection. The setting's two major sections are. identical; on heavy, coated stock rather than be too much of a good thing, Paintings and duotone engravings of however, an opportunity for soloists or a Bach and his times small ensemble to contrast with the main .. Listing of over 200 cantatas in correct group is provided. Each section begins in sequence for 1985 church year unison, then divides into three parts. Except .. Daily notes of events documented from for the consistently Iowa's in the alto, the ranges are moderate, almost narrow. The Bach's life work's slow tempo demands a sustained level • Detailed introduction with brief biogra­ of intensity which will be a challe.nge to the phies for Bach, his family, friends and junior-high or high-school trebl£ choir for associates whom this piece is appropriate. It is also • Little Lexicon defining unusual terms available in SAB voicing. Available from Kevin Lambert • Bach Festival Information for 1985­ coast to coast and worldwide GIA PUBLICATIONS No. 99-1263 $9.95 plus postage

"Unto the hills." Austin C. Lovelace, CDf\CIDRDla", Call toll free-1-800-325-3040 SATB, organ, #G-2719, 70¢. PUBLISHINGTHOUSE This lovely anthem is a setting of all of the 3558 SOUTH JEFFERSON AVENUE (in Missouri 1-800"392-9031) to order SAINT lOUIS. MISSOURI 63118·3968 verses of Psalm 121, "Unto the hills I lift mine

DECEMBER 1984 Page 37 This Christmas piece is divided into two For Communion ..., Gilbert M. Martin, especially good for the young middle-school sections. The first is slow and modal in SATB, unaccompanied, #HMC-717, 75¢ choir. The bass part has a six-note range character, suggesting the starkness of the For Communion is a collection of seven going from d up to b. The number is sure to stable on Christmas Eve. The second section traditional texts set in hymn s!yle. Each impress an audience. steps into a light dance in 3/4 on the text "0 number is strophic and contains at least two Sharon A. Kraus dance and sing this happy morn for Jesus verses. Voice leading in each part is very Christ our Lord is born!" A short coda restates smooth and logical due to the usage of more NOVELLO PUBLICATIONS the first theme. The harmonies are interesting, complex chords. Voices lie in mid-ranges. especially in the contrast between the This collection of choral pieces would en­ "A cradle song," Ronald Corp, SS, piano, sections. There is some doubling of soprano hance the Communion service and provide a #29 0522 01, 85¢. and tenor. Although the music is not difficult, pleasant change to the standard service This is an excellent piece to teach a treble it is beautifully flexible. As a part of a repertoire. choir about irregular and changing meters. Christmas program or worship service, this Primarily in ~, the work moves smoothly into anthem very aptly tells of the excitement of "A prayer for tomorrow," Carl J. Nygard, several other meters, always returning to ~. that first Christmas experience. Jr., SSA, keyboard and flute, HMC-699, The simple melody and easy harmony of Glenn E. Wonacott 70¢. thirds are of good quality by themselves but The text proVides a nice graduation state­ are easy enough to allow the group to con­ HINSHAW MUSIC ment or final concert sentiment. A unison centrate on the meter. Unlike many pieces "Above the stars," K. Lee Scott, SATB, melody divides into two-parts and an with varied metrical schemes, these meter keyboard, HMC#-738, 70¢. occasional three-part section. Ranges extend changes are not forced but flow logically from This four-part anthem based upon an from b to e2. Piano, voices, and flute com­ one to another. A junior-high group looking anonymous 17th-century text requires a great bine to make a flowing, peaceful setting of for a challenge or an average high-school deal of imagination on the part of the director Nygard's original text. This would be suitable choir will find this piece worthwhile. in order to have the music communicate for sixth grade through high school. Not dif­ effectively with the listener. The various ficult. "Whisper it easily," George Jeffreys, edited tempo changes, coupled with the interesting Marjorie Malone by Peter Aston, SB soli, SSATB choir, organ, harmonies and straight-forward rhythms must #29053209, no price given. be carefully blended together. All vocal ranges McAFEE MUSIC In this verse anthem, Jeffreys (c. are in the tessitura of the high-school as well 1610-1685) sets a poignant text about Christ's as church chorister. The higher bass parts are "Sweet are the charms," Eugene Butler, crucifiXion. Throughout most of its one­ doubled by tenor. The piano part is a separate SAB, keyboard, #DMC 8173, 75¢. hundred measures Jeffreys maintains a fairly voice. Although an accompaniment, it must This tune tends to remind one of a folk­ thick texture, utilizing all five voices. The be carefully woven into the choral lines in song. It has three verses, two of which are the individual vocal lines are of moderate order to be effective. The selection is of same harmonically. The third is in a different difficulty and range, although the altos need a medium/easy difficulty. key with simple harmonies including suspen­ low g. A twenty-measure soprano-baritone Gerald J. Luongo sions in the alto. The tessituras make this song duet is not too difficult aI'ld provides a needed

Every organstudent considering ORGAN FACULlY a career in music should learn THE Joan Lippincott, more about Westminster Choir Head ofthe Department College. Mark Brombaugh • In-depth organ studies curric­ NATION'S Robert Carwithen wum including: Organ litera­ William Hays ture, Organ Pedagogy, Organ lARGEST Donald McDonald Improvisation, Organ Con­ Eugene Roan struction and Design, Organ inWorship. ORGAN CHURCH MUSIC FACULlY • Distinguished fucu1ty ofteach­ Mark Brombaugh, ers/performers/church musi­ DEPARTMENT Acting Head ofthe Department cians. Donald Allured · 26 organs on campus includ­ ...... __...._----...... _--_. Father Gerard Farrell ing: Aeolian-Skinner, Becke­ Robin Leaver rath, Casavant, Fisk, Flentrop, WESTMINSTER Sue Ellen Page Holtkamp, Moeller, Noack, Irene Willis Phelps, Schantz. CHOIR. COLLEGE · Organ study is offered within .. A center for music study " the following Bachelor and Princeton, New Jersey 08540 Master of Music degree pro­ grams: Organ Performance, r------Please send: 0 undergraduate application and college viewbook Church Music, Music Edu­ o graduate application package 0 financial aid information o catalogue 0 summer session brochure 0 recordings catalogue cation. name phone _ Admissions Office Ray Robinson, President address _ Westminster Choir College Princeton, NJ 08540 city state __zip _ 609-921-7144 ~------~------~

Page 38 THE CHORAL JOURNAL contrast to the thicker choral texture. In this overall utilize repetition and simple musical acteristics as "Red rosey bush." The flavor is excellent edition all editorial markings are phrases to express effectively the spiritual, quite different, however. This folk melody is clearly indicated as such. The editor provides personal worship experience. much more upbeat than the first folk song, a brief biographical sketch of Jeffreys and a While written for liturgical churches, this is a and rhythmic repetition is the key to the section providing editorial procedures, worship tool that would be extrmely effective difficult galloping accompaniment. Each verse sources, and textual commentary. A good in situations where a structured litugy is un­ of this ballad is set differently, adding color, church choir or a college choir could perform familiar. the strophs being tied together by the this piece. Glenn E. Wonacott rhythmic pattern. The folk melody against the Kevin Lambert fast-mOVing contemporary accompaniment E. C. SCHIRMER MUSIC CO. gives a fresh, different sound and drive to the "A maid peerless," Herbert Howells, piece. The need for a good ear and the ex­ SSAA, keyboard, #290540 10, no price Two Ballads, arranged by Conrad Susa, tremely low bottom part make this piece too given. two-part children's chorus, piano, published difficult for children's voices, but good junior­ Challenge your women's choir with this separately: 1. "Red rosey bush," #2930, 2. high voices and older students could handle it contemporary setting of a medieval poem "Pretty Polly," #2931, no prices given. well. These two challenging ballads work well written in occasionally difficult four-part Two Ballads are arrangements of together or separately. harmony. Melismatic passages in the soprano Appalachian folk songs. "Red rosey bush" is a David O. De Armond section, syncopated rhythms, some beautiful folk song set in a manner that colors contrapuntal texture, and changing meters and complements the melody with a counter­ G. SCHIRMER highlight the beautifully written text about the melody and flowing piano part. An accom­ Virgin Mary, "Lodestar of Light." The homo­ plished pianist is a must. An interesting con­ "Laudate," Kirke Mechem, SATB, unac­ phonic sections feature the sopranos with re­ temporary effect results from the fast, companied, #12476, 80¢. maining voices as accompaniment. The piece rhythmic piano accompaniment against the This setting of Psalm 147 with the interpo­ begins softly, builds to a climax in the middle two slower-moving voice parts. Each verse lation of the Latin phrase "Laudate Dominum" section, and returns to softly sung "Alleluias" and refrain is set differently, adding fresh new is one of the most eloquent and sensitive of in the divisi soprano section with the lower intensity throughout. This is a challenging Mechem's a cappella compositions. voices proclaiming the birth of God's Son. piece for young voices but does not seem to The Latin text is set to a motive that There is divisi in all voice parts. A difficult be suited for children's voices below junior­ permeates all sections of the piece. This piano accompaniment must be coped with. high age because of the extremely demanding results in excellent thematic development and Orchestral accompaniment is available on range of the bottom part. Accomplished unity. The theme is worked in traditional hire. This is an excellent piece to add to the young singers should have success with this contrapuntal techniques such as imitation, repertoire. piece if they have good aural ability. This will sequence, and stretto. The form of the piece Karen Johnson be a challenging addition to any fall or spring is A-B-C-D-A: the first three sections are basi­ concert. cally polyphonic, the fourth section contrasts OXFORD UNIVERSITY PRESS "Pretty Polly" has many of the same char- with homophony and descriptive word

Rip Van Winkle, John Bryan, unison choir, narrator, piano, optional guitar, #019 3354586, $11.75 (complete score). This cantata presents the story of Rip Van Winkle as a fable about the dangers of procrastination. Ideal for elementary children, NEW SACRED MUSIC the work is comprised of ten short songs joined by narration. The songs are in a variety DEUS MAJESTATIS INTONUIT {vee. sc.} DIES lRAE {piano red.} of tempos, meters, and styles, and have Wesley/Schwarz 3.25 Sallinen 7.50 (2890-33) simple, easily learned texts and melodies. The SATB/SATB, str. & org. (2891-33) SB soli, male cho., & orch. piano part is musical, supports the singers, but "EVENING SERVICE {reissue} FOUR LATIN MOTETS is not too difficult. Any elementary group, not Blair/Atkins 2.20 Elgar 3.75 just a choir, could learn this work, which, too, SATB & organ (0698-30) SATB & organ (2906-331 could be easily staged. For the sake of young GREAT IS THE LORD {reissue} 0 FONS AMORIS singers who do not read music, word sheets Elgar 5.25 Oliver .4.00 are available. SATB & organ red. (2904-33) SSAATTBB a cap. (2902-33) Kevin Lambert "I LOVE ALL BEAUTEOUS THINGS "A SHORTER BENEDICITE Howells 1.35 Dalby 1.35 ROYAL SCHOOL OF CHURCH MUSIC SATB & organ (0690-301 SATB & organ (0688-30) "TWO LITURGICAL CANTICLES "WHISPER IT EASILY Musicfor the Parish Communion, Martin Dalby 1.75 Jeffries/Aston 2.20 How, SATB, congregation, organ, #C133, SATB & organ 10689-30) SB soli, SSATB & organ 10686-30) no price given. "MAGNIFICAT & NUNC DIMITTIS "COME 0 COME IN PIOUS LAYS Music for the Parish Communion includes Jackson 1.35 Hurd .95 the following liturgical settings: Kyrie, Gloria, 2-pt. ST/AB & organ (0682-30) SATB & organ (0683-30) Sanctus, Benedictus, Agnus Dei, and a " for a free reference copy ofany three starred items, write DEPT. 5CJ on institutional "Great Amen" for the Roman Catholic rite. letterhead. Offer expires January 15, 1985. Sole distributor: Each section is in English and is short and musically accessible for most choirs, organists, and congregations. The Kyrie is responsorial between choir and congregation. In the Gloria the congregation repeats the phrase "Glory to God in the highest, and peace to his people on earth." Later, on a new musical line they sing "have mercy on us," and on the same theme, "receive our prayer." The settings

DECEMBER 1984 Page 39 painting. WALTON MUSIC would provide a challenge to the advanced Mechem composes well for the choral en­ high-school or university chorus. semble. Lines are singable, phrases are well "The Beatitudes," Michael Hennagin, "A time" is a quick, lively setting of marked and expressive, tessituras are comfor­ SATB, organ, percussion, #WM-158, no Ecclesiastes 3:1-8, with frequent meter table, and ranges do not exceed most group's price given. changes and syncopation. Generally, voices capabilities. The polyphonic aspects of this This work, nine minutes in duration, is a move together rhythmically with no great piece sometimes result in vertical dissonance complete setting of the Beatitudes (Matt. range demands. Some use of chromatics, but that may prove difficult for some choirs. 5:1-12) with a closing "Alleluia, Amen." used with a good sense of voice leading. Tone This is a unique composition of high There are some textual deletions, but they do painting is evident. A challenging number for quality. Outstanding high-school choirs and not alter the basic meaning of the text. advanced high-school, university, or church good college choirs will find this composition Although the work was commissioned by the choir. emotionally moving and worthy of many First Presbyterian Church, Norman, Two Chorales from Sorlandet, Slogedal, rehearsal hours. Oklahoma, its vocal demands are 'well SATB, unaccompanied, no price given. Scott Dean beyond the scope of an average church choir. These two Scandinavian folk tunes with The work is more suited to advanced high­ English text by Norman Luboff are VAN NESS PRESS school, exceptional church, or university reminiscent of early American hymns. Each choirs. Vocal ranges are deceiving. Much of piece begins with a unison line and adds the Two Reflections on Christmas Carols, ar­ the work lies in a comfortable low and middle other voices either harmonically or ranged by Buryl Red, SATB, keyboard, range for all parts. However, sopranos must 2 canonically. Ranges are comfortable and handbells, #4170-26, no price given. sing a range of low g-f1at to high b-f1at . harmonies are logical. These numbers are Soprano and tenor lines, when high, stay These short,. practical arrangements of scored without bar lines which could pose "What child is this?" and "The first Noel" are there at great length, and the bass tessitura is rehearsal problems. Nice for church choirs. adaptable to youth or adult choirs and various relatively high. Emphasis in the work is on Marjorie Malone performance resources. They are entitled "Re_ color and texture. This is enhanced by the use flections" because handbells "or any other of organ and percussion (timpani, vibes, tam suitable instrument" may present the solo tam, marimba, suspended cymbal, orchestra melody while the chorus accompanies (or bells, chimes, and bell tree). All instrumental Augsburg Publishing House 32 reflects) on "oh" or "00" and highlights the ar­ parts require capable players, including four Bach T-Shirts 6 rangement with fragments of the melody and percussionists. This setting is a dramatic, Bay, Mel, Publications 14 text. The solo is also provided with text and intense, coloristic rendering of the text. Al­ The Boston Conservatory of Music 12 could be sung. though it presents some challenges, it should Broude,Alexander 6 Bucknell University 8 The accompaniment may be performed by be a joy to perform for a capable choir. Choral Toronto 28 any keyboard instrument, harp (pedal settings Loyd F. Hawthorne Choristers Guild 26 provided), or guitar (chord symbols Church Music Digest 29 provided). The arrangements could also be Songs of Life, Theron Kirk, SATB, unac~ Collegium Records 31 orchestrated using any combination of companied, published separately: "0 music, Colorifics 29 instruments. Both arrangements present one beloved art," #WW-lOOl, 75¢. "Answer to a Concordia Publishing House 36,37 verse and a refrain of the carol. The refrains of question," #WW-1002, 70¢. "A time," Coral Ridge Presbyterian Church ..20 both carols provide the climax of the #WW-I003, 75¢. C-S Travel Service 8 arrangement and are directly followed by a With the exception of two contrapuntal en­ Dowd Musical Publications 12 Educational Tour Consultants 4 diminuendo to a quiet conclusion. trances, the voices in "0 music, beloved art" E.T. World Travel 18 "What child is this?" is set to a flOWing six­ move in contemporary chord progressions European-American Music 15 teenth-note accompaniment. "The first Noel" with rhythmic differences providing a variety Fischer, Carl, of Chicago 32 uses a drone in the men's voices and a simple of movement. The lines are slow and Foster, Mark, Music Company 9 arpeggiated pattern in the accompaniment; at sustained with comfortable ranges. Soprano Frangipani Press 14 the second phrase an echo-like canon of the and alto frequently move in parallel fourths Galaxy Music Corp 33 melody is intended to be sung by soprano against tenor and bass moving in parallel Gentry Publications 19 solo or treble voices, or played by any ap­ fifths. Recommended for advanced high­ Great Western Choral Festival 33 propriate instrument. school or university chorus. Green Lake Festival of Music C4 The Handbell Connection 13 These are simple yet expressive and "Answer to a question" is a vital, rhythmic Hartt School of Music '.18 sonorous arrangements wherein the tradition­ setting with very little feeling for a tonal center. .Inter-Culture International 22 al harmonies are altered by Red's contem­ The cross relationship of accidentals provides Intropa International/U.S.A 7 porary style. an obstacle. Rhythms are syncopated with Langdon Barber Groves 20 Scott Dean frequent meter changes. An octavo that Lyric Choir Gown Company 9 Michigan State University C2 Mollard Batons 13 REViEWERS yltris issue: Music Print Corp 36 Myers, Bill, Production 32 Oregon Bach Festival 16 Scott Dean Sharon A. Kraus Marjorie Malone Paraclete Press 24 Red Hill Lutheran Church Fred F. Florence Middle School Tahlequah High School Presser, Theodore, Company 39 Tustin, CA 92680 Dallas, TX 75217 Tahlequah, OK 74464 Saint Mary's College 28 Saint Olaf College C3 David O. De Armond Kevin Lambert Carl W. Smith Scarritt College 23 Mountain View Methodist Church First Christian Church Dolores High School Shannon Development Company ..35 Boulder, CO 80303 Boulder, CO 80302 Dolores, CO 81323 Shawnee Press 25 Loyd F. Hawthorne Gerald J. Luongo Glenn E. Wonacott Southeastern Career Apparel 34 Hardin-Simmons University Vineland High School Visalia United Methodist Church University of Cincinnati 26 Abilene, TX 79698 Vineland, NJ Visalia, CA 93291 University Music Service 24 University of Wisconsin-Parkside .20 Karen Johnson Watt Disney World 19 Aurora Central High School Wertsch, Nancy .. , 28 Aurora, CO Westminster Choir College 10,38

Page 40 THE CHORAL JOURNAL Christmas comes alive in the music of the Christmas Festival at St. Olaf College in Northfield, Minn., every year. Wltat Cltild IS TltiS? a spectacular 60-minute television special on Public Broadcasting Service (PBS) stations nationwide will feature five St. Olaf College choral groups, including the St. Olaf Choir, with the St. Olaf College Orchestra.

National Public Radio (NPR) stations across the country will also air the St. Olaf Christmas Festival concert in a gO-minute program

Both will be scheduled during Christmas week by most participating stations.

Check your local PBS and NPR listings for the schedule in your area. American Choral nir'of"tf"\'·C' Non-Profit Organization US Postage Lawton, Oklahoma 73506 ~ PAID P.o. Box 6310 ""111111_1111111111 Oklahoma City. Oklahoma Permit NO.1 88 ~39120

Address Correction Requested

Featuring

Sir David Willcocks

Musical director of the London Bach Choir and director of the Royal College ofMusic from 1974-1984. Sir David directed the King's College Choir. Cambridge, for 17 years and was in charge of the music performed at the wedding of Prince Charles and Lady Diana.

Come-spend a week with Sir David Willcocks sharing thejoy ofmusic with new friends

• Daily workshops and evening rehearsals focus on the music of G. E Handel • Concert performance of Handel's Coronation Anthems and Dixit Dominus •A full day reserved for private conferences and recreation • Explore Green Lake, the For a bro­ oldest resort west of chure, Niagara Falls write the Green Lake Festival ofMusic, P.O. Box 569, Green Lake, WI 5494 I