JJune/Julyune/July 22012012 CONTENTS VVol.ol. 5252 • nono 1111
A COPLAND PORTRAIT Choral Music MEMORIES OF A FRIENDSHIP, AND THOUGHTS ABOUT HIS INFLUENCE 00 ON AMERICAN CHORAL MUSIC in the White House 8 2266
TThehe ACDAACDA NationalNational SymposiumSymposium onon AmericAmericaann CChoralhoral MMusicusic The Choral Arrangements TTHEHE of Alice Parker SSEARCHEARCH and Robert Shaw FFOROR AANN American Style 1188 3300 ARRTICLESTICLES INNSIDESIDE 8 CChoralhoral MMusicusic iinn tthehe WWhitehite HHouseouse 2 From the Executive Director bbyy DonaldDonald TTrottrott 4 From the President 6 From the Guest Editor 1188 CChoralhoral MMusicusic iinn tthehe WWhitehite HHouse:ouse: AAnn AAfterwordfterword 7 Letters to the Editor 52-55 Nat'l Honor Choir Info. bbyy DonaldDonald OOglesbyglesby 66-68 Nat'l Music in Worship Festival Choir Info. 88 Advertisers’ Index 2222 TThehe ACDAACDA NNationalational SSymposiumymposium oonn AAmericanmerican CChoralhoral MMusic:usic: TheThe SearchSearch fforor anan AmericanAmerican SStyletyle The Choral Journal is the official publication of The bbyy JohnJohn SSilantienilantien American Choral Directors Association (ACDA). ACDA is a nonprofit professional organization of choral directors from schools, colleges, and universities; community, 2266 A CCoplandopland PPortrait:ortrait: MemoriesMemories ofof a FriendshipFriendship andand ThoughtsThoughts church, and professional choral ensembles; and industry aaboutbout HHisis IInfluencenfluence oonn AAmericanmerican CChoralhoral MMusicusic and institutional organizations. Choral Journal circula- tion: 19,000. bbyy DavidDavid ConteConte Annual dues (includes subscription to the Choral Journal): 3300 TThehe ChoralChoral AArrangementsrrangements ooff AliceAlice PParkerarker aandnd RRobertobert ShawShaw Active $95, Industry $135, Institutional $110, Retired $45, and Student $35. One-year membership begins bbyy JimJim TTayloraylor on date of dues acceptance. Library annual subscription rates: U.S. $45; Canada $50; Foreign $85. Single Copy $3; Back Issues $4.
Permission is granted to all ACDA members to reproduce COOLUMNSLUMNS articles from the Choral Journal for noncommercial, educational purposes only. Nonmembers wishing to 45 RRepertoireepertoire & StandardsStandards eediteddited byby AmyAmy BlosserBlosser reproduce articles may request permission by writing to ACDA. 545 Couch Drive, Oklahoma City, Oklahoma 73102. The Early History of the National Committee on Children's Choirs 1981-1995 by Barbara M. Tagg Telephone: 405/232-8161. All rights reserved. Audition Advice and Protocol for College-Bound Musicians by Andrew Larson The Choral Journal (US ISSN 0009-5028) is issued eediteddited byby RichardRichard StanislawStanislaw monthly except for July. Printed in the United States of 57 HHallelujah!allelujah! America. Periodicals postage paid at Oklahoma City, A Composer and Publisher Speaks of Music Ministry by Joseph M. Martin Oklahoma, and additional mailing office. POSTMASTER: Send address changes to Choral Journal, 545 Couch 61 BBooookk RReviewseviews eediteddited byby StepStephhenen TTownown Drive, Oklahoma City, Oklahoma 73102.
71 RRecordedecorded SoundSound ReviewsReviews eediteddited byby DavidDavid PuderbaughPuderbaugh Cover art by Efrain Guerrero, graphic artist, Austin, Texas. Interior art by Tammy Brummell. 79 IIndexndex ooff ArticlesArticles fforor VVolumeolume FFifty-Twoifty-Two bbyy ScottScott WW.. DorseyDorsey Musical examples by Tunesmith Music
President-elect and naval architecture, navigation, commerce, Karen Fulmer 253-927-6814 (VOICE) and agriculture, in order to give their children a [email protected] right to study painting, poetry, music, architecture, NATIONAL TREASURER statuary, tapestry, and porcelain. Jo Ann Miller North Dakota State University [email protected] In a way, this prophetic view by Adams tracks the ma- Executive Director Tim Sharp Tim Sharp turing of the choral voice in the newly formed United 405-232-8161(voice) States of America up until today. [email protected] Between 1800 and the mid-nineteenth century, major cities in the Eastern Central Division President Tom Merrill United States began their movement past revolution and war, and were able Xavier University 513-745-3135 (voice) to form professional music organizations such as Boston’s Handel and Haydn [email protected] Society, which concentrated on full-scale performances of choral music with Eastern Division President orchestra, and the New York Philharmonic Symphony Society, which focused Bob Eaton [email protected] on symphonic repertoire. These societies received their material from the North Central Division President fi nest of European composers of the time. Aimee Beckmann-Collier Drake University It is a little disorienting to realize that during this time, Mozart’s librettist, 515-271-2841 (voice) [email protected] Lorenzo Da Ponte, was now living in New York city and making a living as a grocer, and Napoleon’s older brother, Joseph Bonaparte, former king of Spain, Northwestern Division President Solveig Holmquist was living in New Jersey. The lines were beginning to blur, but it would still Western Oregon University 503-838-8437 (voice) be a while before the U. S. iconoclasts would have the opportunity to study [email protected] “painting, poetry, music …” as Adams projected to Abigail. Southern Division President Tom Shelton However, by the end of the century, the fi rst musicians’ union was formed, First Presbyterian Church not in New York City or Boston, but rather, in Memphis, Tennessee. On the 336-478-4713 (voice) [email protected] original Certifi cate of Affi liation, pictured in the laurel banner that frames the Southwestern Division President document, alongside the classical German/Austrian composers of Wagner, Margie Camp Young Voices of Colorado Beethoven, Mendelssohn, Mozart, Haydn, and Schubert, we see the portrait of 303-797-7464 (voice) [email protected]
Western Division President Kathryn Smith Cosumnes River College 916-687-0545 [email protected] ACDA HAS A SMARTPHONE APP! Industry Associate Representative Alec Harris GIA Publications Inc. 708-496-3800 (voice) This application includes ACDA’s exclusive “First Listen” program, a “Choral Library” featuring reviews of new music, Chair, Past Presidents’ Council Hilary Apfelstadt a quiz section, ACDA News, ChoralNet, and a direct University of Toronto contact feature. 416-978-0827 (voice) [email protected] You can download this App directly from your smart phone National Past Presidents device. † Archie Jones Maurice T. Casey † Elwood Keister † Hugh Sanders iPhone users can get the ACDA App from the App Store. † Warner Imig David O. Thorsen † J. Clark Rhodes Diana J. Leland † Harold A. Decker William B. Hatcher Android users should visit the Google Market now known † Theron Kirk John B. Haberlen as Google Play. † Charles C. Hirt † Lynn Whitten † Morris D. Hayes James A. Moore Russell Mathis Milburn Price † Walter S. Collins David Stutzenberger H. Royce Saltzman Mitzi Groom † Colleen Kirk Michele Holt Executive Director's The 12 Purposes Log Dudley Buck. Yes, you read it right, Dud- ley Buck. This signals a new age in the of ACDA What's on growth of a U. S. voice in choral music, Tim's daytimer? as a New England choral composer is • To foster and promote choral singing which given a place along side the trinity of the will provide artistic, cultural, and spiritual June 6 Executive Committee experiences for the participants. Dallas, TX “Three Bs.” We now witness our own June 7-8 ACDA Leadership Conference Mt. Rushmore beginning to develop as • To foster and promote the finest types of Dallas, TX we add “Buck” to the “Bs” of the Ger- choral music to make these experiences June 9 Leadership Board Dallas, TX man Bach, Beethoven, and Brahms. possible. June 10 Audition Committee If and when a U. S. voice was to • To foster and promote the organization and Dallas, TX surface in choral composition, it would development of choral groups of all types in June 12 Georgia Baptist Youth Camp Atlanta, GA emerge through transplanted Romantic schools and colleges. European traditions, Americans study- June 14-28 IFCM Board Meeting Lugano, Italy ing abroad, European Impressionism, • To foster and promote the development of choral music in the church and synagogue. June 17-23 ACDA National Youth Honor Choir revolutions in industry and technology London, England (think of the piano as industry and tech- • To foster and promote the organization and June 29-30 American Choral Symposium nology), twentieth-century American development of choral societies in cities and Washington, DC optimism, and many, many other threads communities. July 4-14 World Choir Games Cincinnati, OH and infl uences. • To foster and promote the understanding July 15-21 China Choral Summit When Wynton Marsalis describes of choral music as an important medium of Beijing, China American blues music, he says, contemporary artistic expression. July 23-26 Association of Disciple Musicians Tulsa, OK • To foster and promote significant It's like gumbo in New July 29-30 Pennsylvania ACDA Conference research in the field of choral music. State College, PA Orleans, you know. We put everything in there, shrimp, • To foster and encourage choral chicken, you can even put composition of superior quality. What's on Tim's Ipad? chitlins in there if you want • To foster and promote International 'em—you can put what you exchange programs involving performing Men, Women, and Pianos want in there, you know groups, conductors, and composers. by Arthur Loesser what I mean, and it's going • To foster and encourage rehearsal proce- Musical Treasures from the Moravian Archives, to taste good because it's dures conducive to attaining the highest Volume 1 going to be a part of it, but possible level of musicianship and artistic by Tim Sharp Posiusiness Revi you got to have that roux, performance. and the roux is the thing • To cooperate with all organizations dedi- What's Tim that makes it a gumbo…. cated to the development of musical culture Listening to in America. So, it is a good thing for the Choral Der glorreiche Augenblick, Op. 136 • To disseminate professional news and Journal to explore aspects of the roux by City of London Choir of American choral music. Sometimes information about choral music. it is easy to recognize the parts, but it Lighten Mine Eyes: Contemporary Choral Music —ACDA Constitution and Bylaws remains an ongoing challenge, and a Pelle Gudmuby Orpheus Vokalensembleen lten icon worthy pursuit, to identify the roux of U. S. choral composition. IFCM International Competition World Choir Initiatives for Choral Composition
Tim Sharp The 2nd IFCM choral composition competition has been announced—an international competition open to composers of any age or nationality. This year's award is awesome: 5000 Euros, a premiere by The Philippine Madrigal Singers, and multiple performances by leading international choirs across four TimothySharp continents! American Choral Directors Association If you are interested or know of an outstanding composer who should submit a work, please go to
Senior High Choirs every morning. For Beethoven, it was taking a morning walk during which he Daniel Bishop Clovis East High School would scribble into a sketchbook the fi rst rough notes of whatever musical 559-478-1785 idea entered his mind. In Stravinsky’s case, it was playing a Bach fugue upon [email protected] entering his studio. Before I can become creative, my rituals include the Show Choirs Robert Lawrence completion of materials in recruiting, syllabi, calendar preparation, budgets, University of Central Missouri [email protected] the confi rmation of performances and major events (sometimes with certain compositions preselected), and mundane tasks such as fi ling music or order- Two-Year Colleges Dianna Campbell ing textbooks. The rituals of my preparation often come at the expense of Seminole State College of Florida 407-708-2644 immediate creativity. But, my mind needs to be free of clutter to focus on [email protected] creative programming for the upcoming year. Vocal Jazz As Twyla Tharp implies, it is in the scratching, the search for new ideas, new Kirk Marcy Edmonds Community College approaches, and digging into our inner core that we can begin to renew and 425-640-1651 [email protected] sometime redefi ne ourselves as creative artists. She comments that some of her greatest successes were those sorely lacking fi nancial or personnel Women’s Choirs Iris Levine resources. I am notorious for looking for new scores—scratching. I put post it Vox Femina Los Angeles [email protected] notes on the music, write on the scores, and use them to begin lists of ideas.
Youth and Student Activities - Interim I put them in stacks and I scribble notes on my trusty yellow pad. I currently Amanda Quist have piles of music all over my offi ce. Tharp speaks of putting ideas into boxes Westminster Choir College, Rider Univ. 616-901-3846 to begin the process. I, instead, have piles of music. As I get further along [email protected] in my programming process, the stacks are further refi ned by theme, category, season, or event. Tharp keeps boxes on every dance project in which she has been involved. These boxes contain anything that might help put together a dance. Scraps of paper, readings, music, ideas, anything that might give rise to a dance or concept is in her boxes. She is certainly far more organized than I, but my system works for me. Once my repertoire readings have been completed for the year and I have a general concept for a program, I re- turn to my stacks of music, and reread the texts, looking for common threads. These ideas need time to percolate. I call friends, former students, and speak with colleagues, always looking for an- other way to approach completing my programming. It is truly an adventure that I continue to enjoy as I begin my fortieth year of teaching. This “scratching” part of my process is my favorite part. It is in the knowledge that even when I think I am happy with a program, there is still another stack that I can choose to explore and that no program is ever so set in stone that I cannot change it. If the stacks do not help, then there are additional resources available on the Web or posted in all sorts of forums (ChoralNet for example), and I use all of them. Our creative DNA, as Tharp calls it, can help us focus on the type of program we wish to present. We need to continue to ask, “What is best for our singers and inspiring for our audiences or congregations.” I hope that these next few months will allow you to recharge your soul and your spirit. May your creativity be renewed and your singers reap the rewards of the time spent exploring your own creative process, whatever it might be.
Warmest regards,
Jo-Michael Scheibe CHORAL JOURNAL Volume 52 Number 11 5 Editorial Board This issue of the Choral Journal celebrates America’s FROM THE rich heritage of choral music. The idea began when Editor Don Trott of the University of Mississippi asked me Carroll Gonzo University of St.Thomas GUEST to look at an article he had written surveying choral 651-962-5832 [email protected] performances in the White House. It was fascinating
Managing Editor EDITOR to read this rich history, and it planted the seed from Ron Granger which this month’s Choral Journal has grown. ACDA National Office 405-232-8161 This issue also ties in with the forthcoming event [email protected] at the Library of Congress. For over a decade, the Contributing Editor ACDA Research and Publications Committee has David Stocker 281-291-8194 been working with the Library of Congress to create [email protected] an online American choral music resource. “American
Board Members Choral Music, 1870–1923” now offers 73 choral
Hilary Apfelstadt Donald Oglesby works by 23 composers for download, at
Terry Barham Antonio, this project has drawn on the efforts of a number of ACDA scholars/ Emporia State University 620-341-5436 conductors who selected the music after reviewing the many choral works [email protected] of the period in the holdings of the Library of Congress. Silantien is in charge Kristina Boerger of the forthcoming National Symposium on Choral Music, “The Search for Carroll University 262-524-7183 an American Style,” which will be held in Washington, D.C., at the Library of [email protected]> Congress and New York Avenue Presbyterian Church, June 29 and 30, 2012. Philip Copeland Samford University [For a link to details of the National Symposium, consult the ACDA home 205-588-4794 page, top left, at http://acda.org/] [email protected] The Choral Journal has published many articles on choral music of American J. Michele Edwards 651-699-1077 composers. With this issue’s focus, it seemed appropriate to feature American [email protected] music icon Aaron Copland; there was no one more appropriate to call on for Lynne Gackle Baylor University this than composer David Conte, one of the last composers to work exten- 254-710-3654 [email protected] sively with Copland. Copland was a remarkable person. One day when I was a young faculty Steven Grives South Dakota State University member in Miami, a student (composer Ken Fuchs) came in to say that Cop- 605-688-4616 [email protected] land was in town conducting the Florida Philharmonic. I quickly canceled my
Sharon A. Hansen afternoon appointments, and we went to watch him rehearse. I particularly University of Wisconsin—Milwaukee 414-229-4595 (voice) remember an ascending scalar fl ute passage in Appalachian Spring: He said, [email protected] “Flutes, you are playing all the right notes, but not the character.” He had them Edward Lundergan play it several times until, instead of just ascending scales, it had energy and life, SUNY-New Paltz 845-257-2715 (voice) sounding like birds fl ying away. [email protected] At rehearsal break, he went for coffee, and we went to talk with him—he David Puderbaugh University of Iowa was charming. At the end of a ten-minute conversation, I said, “Mr. Copland, I 319-335-1627 wish you had time to visit our campus and talk with our students.” His face lit [email protected] up, and he said, “I would love to do that. I’m free all day tomorrow; if you will Ann R. Small Stetson University come pick me up, I’ll be there.” So we returned to campus and put up signs 386-822-8976 [email protected] saying “Come have lunch with Aaron Copland.” About 200 people did! He
Magen Solomon was so gracious. One question was, “Mr. Copland, what are you writing now?” San Francisco Choral Artists He replied, “Oh, I have really said all I have to say as a composer. Now I am 415-494-8149 [email protected] enjoying conducting and working with people.” He loved encouraging people Richard Stanislaw to discover and nurture their unique gifts. Ocean City Tabernacle 609-399-1915 (voice) He was warm and encouraging with everyone. As we walked back from [email protected] the dining room, he stopped behind the Concert Hall and said to me: “OK, so Stephen Town you are a choral conductor. Have you done any composing? I replied, “No, not Northwest Missouri State University 660/562-1795 (voice) [email protected] really.” Copland then said, “Why LETTERS not? Even if you never do anything TO THE with it, it will change the way you think about music.” It was wonder- EDITOR Dear Editor: ful advice. I believe it is fair to say that Leon Thurman makes a state- many of us would not be in choral ment in the recent CJ (April 2012) music today without the work of article, (“Boys’ Changing Voices: What Robert Shaw and Alice Parker, Do We Know Now?”), that puzzles me. which has inspired so many con- Thurman states, “[C]ooksey was admitted to the Doctor of Education ductors, singers, and audiences. Jim Taylor (Kilgore College, Kilgore, program in choral music education at the University of Illinois. While there, Texas) has provided a study of the he was schooled in the use of the scientifi c method for experimental re- early American folk hymn arrange- search in music education” (p. 13). I do not know the motivation behind ments of Alice Parker and Robert this statement, but it should be clear to anyone familiar with John Cooksey’s Shaw. research that it is not based on the scientifi c method, nor is it experimental In its preliminary stages, Trott’s research. Cooksey’s research is quantitative, but it is not experimental—it article was of great interest to a is descriptive. Experimental research is based on the scientifi c method of number of people. It made me statistically comparing one group of subjects who receives some type of wonder what commentary we treatment to another group of subjects which serves as the control group. might be able to obtain from oc- Cooksey’s research is descriptive—it reports fi ndings of “what is” about cupants of the White House. I took a group of subjects at any given time. Although it can be helpful to any the liberty of sending it to those director of pubertal males to understand the changing voice category, a residents—who are all very busy young man may fall into on any given day, that is all Cooksey’s research people. I was delighted to receive reveals. It does not imply “cause and effect” because it cannot, given the replies from Rosalyn and Jimmy Carter and from George H. W. very nature of the descriptive research design. Bush. I also had a brief opportunity Thurman also cites a study by Willis and Kenny in which the researchers to speak with Bill Clinton. Com- “indicated that no voice-education method could overcome phonational mentary from them is included in gaps, but they expressed no opposition to Cooksey’s recommended use an “Afterword” following Trott’s of slow downward sigh-glides, beginning in falsetto register, to assist in article. the transition toward full-pitch range singing and the absence of gaps” (p. Of course, an issue of the Choral 19). Willis and Kenny were correct in their reporting, because the use of Journal cannot hope to represent “downward sigh-glides” was not tested by Cooksey in any experimental the huge fi eld of America’s choral procedure. The use of such glides, however, have been part of the music heritage. The book on American education literature since the writings of Frederick Swanson, whose doc- choral music is yet to be writ- toral dissertation (Wisconsin, 1959) did use the experimental method in ten; the Choral Journal serves as studying the adolescent male voice. It is one of the only major experimen- a rich resource for the topic. It is tal studies known on the pubertal boy with changing voice. The profession my hope that this issue will spark could be greatly aided by experimental research studies that focus on how further research and the contribu- tion of more articles, and that it will the boy with a changing voice can be helped with proper instruction to serve as a vehicle for expanding successfully meet the vocal challenges associated with puberty. our efforts in advocating for the arts in society, and particularly in Sincerely, our schools. Kenneth H. Phillips, Professor Emeritus, The University of Iowa Donald Oglesby University of Miami
CHORAL JOURNAL Volume 52 Number 11 7 Choral Music in the White House DONALD TROTT
or more than two hundred years, music in the White House has refl ected the sounds of America, providingF ceremonial backdrop and adding fl ourish to visits by heads of state, serving as a showcase for the performing arts, and always refl ecting the personal tastes of the fi rst families who have lived there. Since the United States Marine Band, known as “The President s Own,” performed on New Year s Day 1801, the White House halls have echoed with the sound of music built into its walls from the beginning.1 Music of all types has graced the various spaces in the White House and on the immediate grounds. According to former First Lady Barbara Bush,
One of the great privileges of living in the White House is meeting the best and the brightest America has to offer…especially in the fi eld of music. So many great performers have brought their magic here. All of these musicians have greatly enriched life here at the White House and have been wonderfully representative of all that our American culture has to offer.2
Choral performances have taken place in many of the administrations since the early 1800s. The White House is a living museum and a stage for presenting the best in American art. The important work of our nation unfolds in this mansion, and so does the culture through various performances, exhibits and presentations.
8 CHORAL JOURNAL Volume 52 Number 11 The Dayton Westminster Choir, John Finley Williamson director, at the White House, November 18, 1925.
The Westminster Choir at the White House, December 14, 1965, with President Johnson and the President of Pakistan, Ayub Khan
Donald Trott is director of choral activities at the University of Mississippi. He holds a BME from Westminster Choir College in Princeton, New Jersey, an MM and DMA in choral conducting from the University of Oklahoma
CHORAL JOURNAL Volume 52 Number 11 9 Choral Music in the White House
Hundreds of choirs have experienced fl aming javelins into the White House. The as Death of Washington,Happiest Time is Now, the unique opportunity of performing in the Executive Mansion’s interior was completely Is There No Comfort for the Sorrowing Heart, White House. In recent decades, most choirs destroyed, only the exterior walls remained. and The Mountaineer’s Farewell.8 performed in the East Room, which often is Dolly Madison was able to save the famous the location for special events and concerts. 1797 Gilbert Stuart painting of George Several administrations have invited choirs Washington and a few pieces of furniture. to sing seasonal music as tourists view the The White House did not reopen until 1817. 1850 – 1900 beautiful decorations during the holiday On March 4, 1841, William Henry Harrison Millard Fillmore (1850–1853) became season. The opportunity to sing in the White (1841) was inaugurated and one month President upon the death of Zachary Taylor House is an occasion to stand in the midst later he died. (July 9, 1850). Abigail and Millard Fillmore of history. The fi rst group vocal performance on were music lovers and entertained the record occurred during President John Tyler, leading performers of the day, including Jr’s (1841–1845) administration when on Jenny Lind. Franklin Pierce (1853–1857) 1800 – 1850 January 30, 1844, a performance by The has little record of social events in general, Hutchinson Family, also known as “Tribe of perhaps due to the fact that their only son A chronological look at choral perfor- Jesse,” took place. This was a group of four Benny was killed in a railroad accident just mances in the White House begins with singers from New Hampshire that, over weeks prior to Franklin Pierce’s inauguration. a look at historical events. On November a span of years, sang for seven Presidents. During President James Buchanan’s (1857– 1,1800, the family of John Adams (1797– The ensemble consisted at different times 1861) administration, William Bradbury 1801) was the fi rst to occupy the White of various combinations of the children of (1816– 1 8 68), a music educator, conducted House. With only four months in the man- one Jesse Hutchinson, a farmer from Mil- a Handel oratorio with a well-trained choir sion prior to the inauguration of Thomas ford, New Hampshire, and his wife Mary. in the White House on April 30, 1859. Brad- Jefferson (1801–1809), the opportunity The Hutchinsons became highly respected bury was a student of Lowell Mason and was not ample for any type of performance. performers, and much of their music focused famous for his hymn compositions, including But, before coming to the White House, on idealism, social reform, equal rights, moral Jesus Loves Me. He had a forty-year associa- Abigail Adams, in a letter dated September improvement, community activism, and pa- tion with the White House.9 Abraham Lin- 2, 1785 to her sister Mary Cranch, described triotism. In addition, they often sang about coln (1861–1865) could not read music or a performance of Messiah she attended at rural life and social issues such as abolition, play an instrument, but he was very moved Westminster Abbey stating, temperance, politics, war, and women’s by music and found it important to the soul. suffrage. The career of the Hutchinsons Music in song during the Civil War was am- The most powerful effect of music I spanned the major social and political events ple and spoke to all, because the texts were ever experienced…. It is impossible of the mid-nineteenth century, including the to describe to you the solemnity and about the contemporary struggle. Lincoln Civil War.5 The program included The Land dignity of the scene. When it came to knew this music well and heard it often in of Washington, Happy and Free, A Little Farm that part, the ‘Hallelujah,’ the whole Washington. He enjoyed opera, especially his Well Tilled, The Origin of Yankee Doodle, and favorite chorus, the “Soldiers’ Chorus” from assembly rose, and all the musicians 6 and instruments perfectly chording concluded with The Old Granite State. Two Faust. On January 7, 1862, the Hutchinson one word and one sound. I could songs they often performed and popular- Family entertained the Lincolns singing The scarcely believe myself an inhabitant ized were Battle Cry of Freedom and Tenting War Drums are Beating, Up, Soldiers, and Fight, 7 of the earth. I was one, continued Tonight on the Old Camp Ground. President and Ship on Fire.10 On July 4, 1864, George shudder from the beginning to the Tyler, the father of fi fteen children, was a Root’s Battle Cry of Freedom was bellowed end of the performance.3 violinist and even dabbled in composition. by thousands gathered on the south lawn James Polk (1845–1849) apparently had lit- of the White House to celebrate Indepen- Jefferson lived in the White House for two tle enthusiasm for music in general and rarely dence Day and the Emancipation Proclama- years as a widower, along with his two used the Marine Band, which had already tion in song. Five hundred members of the daughters and their husbands. According to appeared for previous administrations on a Christian Commission11 sang Your Mission, Kristin Onuf, research assistant at Monticello, regular basis. Zachary Taylor (1849–1850) “The Soldier’s Chorus” from Faust, and vari- “There are no known choral performances was in offi ce for approximately sixteen ous hymns on January 27, 1865. After the given during Jefferson’s presidency.”4 It was months before he died. On April 24, 1849, fall of Richmond on April 1, 1865, crowds during James Madison’s (1809–1817) time the Baker Family presented a program of gathered in front of the White House sing- that the British entered Washington on popular songs. The six members of the Baker ing Battle Hymn of the Republic and Dixie. It August 24, 1814, and burned the Capitol family were similar to the Hutchinsons, but appears that the music heard in the White and at 11:00 p.m. launched twenty-two sang more sentimental music with titles such House during Lincoln’s time was mostly pa-
10 CHORAL JOURNAL Volume 52 Number 11 triotic or operatic. When Lincoln lay in state the Hutchinson Family returned to the Blue their family, including The Good Old Days of in the Springfi eld City Hall, “selections from Room where they sang several songs to the Yore, One Hundred Years Hence, Freedom’s Mendelssohn’s St. Paul and Elijah were sung President and Mrs. Hayes and members of Song, The Blue and the Gray, and The Good by a large choir.”12 An all-male choir called the Washington Sängerbund (a singing soci- ety that held its fi rst rehearsal in Washington, D. C., on April 20, 1851) on April 22, 1865 “[F]urnished an honor guard at the head of the bier of the dead President.” At one point, they broke the silence by singing Gesang der Geister über den Wassern [Song of the Spir- its Above the Waters] by Franz Schubert. Andrew Johnson (1865–1869) moved into the White House to face the task of reunit- ing the country. Music that had once stirred souls was now put in the distance to avoid painful memories. The Johnsons had a large Dr. Allen Hightower family living in the White House, including Luther College welcomes Nordic Choir fi ve grandchildren, all of whom would study Director of Choral music. It is recorded that the Swiss Bell Ring- Andrew Last Activities ers performed on January 21, 1867. Ulysses S. Grant (1869–1877) admired the Marine Andrew C. Last joins Luther’s Band and used them frequently. Grant internationally acclaimed choral was not fond of opera, but did enjoy the program as assistant professor of Hutchinson Family. There is a record of the music and director of Norsemen and Collegiate Chorale. A 1997 Washington Sängerbund performing again in graduate of Luther, Last holds a the White House on July 16, 1870. In 1872, master’s degree from Northern the Fisk Jubilee Singers “made a quick trip Arizona University and is to Washington, D.C., hoping to infl uence completing his doctorate in choral Linda Martin Cantorei a bill pending in Congress concerning the conducting at the University of Nebraska–Lincoln. transfer of federal lands to Fisk University. He has extensive experience directing high school and university choirs and has traveled widely as a President Grant received them at the White guest clinician. Last comes to Luther from Concordia House and prominent government offi cials University in Nebraska, where he serves on the 13 commended their singing.” The Fisk choir voice faculty. was the fi rst African-American choir to sing Luther’s choral program comprises three upper-class in the White House. mixed touring choirs, two first-year choirs, and an Rutherford B. Hayes (1877– 1881) was upper-class women’s choir. Well over 500 singers fond of singing hymns with friends of the from these ensembles combine with the college’s cabinet in the evening hours in the family instrumental forces for five annual Christmas at Luther Weston Noble Professor Emeritus library (today’s Yellow Oval Room on the performances. Christmas at Luther 2012 will be second fl oor). There were more than fi fty featured nationwide with a new one-hour special musical performances held in the White on PBS. House during his short term. March 6, 1877 Nearly 1,000 student-musicians study with Luther’s found the thirty-member Amphian Club 56-member music faculty, which includes 4 choral of Columbus, Ohio (formerly known as conductors, 13 voice teachers, and a vocal coach. the Columbus Glee Club) performing in It all adds up to one of the largest collegiate music programs in the world! the corridor opposite the Blue Room in which President Hayes and family and a few friends were seated. They sang a number Dr. Sandra Peter Aurora of Mrs. Hayes’s favorites, concluding with Cathedral Choir Good Night and the hymn, There’s a Land http://music.luther.edu that is Fairer than Day. On March 14, 1877,
CHORAL JOURNAL Volume 52 Number 11 11 Choral Music in the White House
Time Coming. Each year, Thanksgiving was a Lullaby Glee. It was noted that the piano several members of congress heard the Fisk dinner for all of the families associated with in the Red Parlor was sadly out of tune. Jubilee Singers following a performance at the White House. William H. Crook, a mem- Although individual opera singers had visited the Congregational Church in Washington, ber of the White House staff recalls that: the White House for decades, it was during D.C. As printed in the Washington Post on Hayes’s administration that the fi rst opera February 18, 1882, the twelve members of [A]bout twenty-fi ve…drifted about company paid a visit. The C. D. Hess English the choir: the piano. Mrs. Hayes played, and we Opera Company led by Giuseppe Operti all sang hymns together—sweet old performed on April 19, 1879. During the [C]alled yesterday to pay their Methodist tunes, for the President afternoon of April 9, 1880, the University respects to President Arthur, and and Mrs. Hayes were identified Singers of New Orleans performed in the while there sang several melodies with the old Foundry church in Blue Room. Following Hayes’s term in offi ce, among them Safe in the Arms of Jesus, Washington. he entertained the Fisk Jubilee Singers at his which actually moved the President Ohio home (which he called Spiegel Grove) to tears. I never saw a man so deeply By now, the Hutchinson Family had be- in May 1882.14 moved, said Reverend Rankin….The President frankly informed his visitors come regulars in the White House and on James Garfi eld (1881– 1881) was only in after hearing them that he had never April 18, 1878, returned with a performance offi ce for four months before he was assassi- before been guilty of so impressive in the Red Room singing Grandfather’s Clock, nated on September 19, 1881. On February an exhibition of his feelings.15 Creed of the Bell, Old Lock by the Stair, and 16, 1882 Chester Arthur (1881– 1885) and
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12 CHORAL JOURNAL Volume 52 Number 11 Chester Arthur’s wife Ellen was a contralto often, including the Westminster Choir, Uni- March 9, 1929, during a tea. The Washington and a member of the Mendelssohn Glee versity of Missouri, University of Wisconsin, Star reported: Club of New York City (which sang at her Furman University, Arion Singing Society, funeral on January 14, 1880).16 Benjamin Bethlehem Bach Choir, and Amherst College This Westminster Choir is indeed Harrison’s (1889– 1893) wife Caroline was (Coolidge’s alma mater). On April 16, 1925, the most unusual and outstandingly one of two Presidential wives who were the two-hundred-fi fty voice Bethlehem Bach American musical effort of any size professional musicians. Caroline taught in Choir with the Philadelphia Orchestra per- produced in this country to date. It has won enthusiastic support the music department at Oxford Female formed Bach’s Mass in B-Minor. This was the of prominent people everywhere Institute (later part of Miami University of fi rst performance ever in Washington, D.C. in this country and has a long list Ohio). On February 5, 1890, a funeral was Following the concert, Mrs. Coolidge re- of distinguished sponsors abroad ceived the choir in the White House. Presi- held in the East Room for the daughter and awaiting its initial appearance in the dent Coolidge served as the honorary wife of Benjamin Tracy, Secretary of the Navy, countries of Europe.19 both of whom had been killed in a fi re at chairman of the National Music Week cel- ebration in 1924. The Westminster Choir their home. The St. John’s Choir (consisting of The Westminster Choir also sang for (originally known as the Dayton Westminster four basses, four tenors, and eighteen boys) Roosevelt and Eisenhower. The Hoover pe- Choir, because in the 1920s, the choir was conducted by William H. Daniel sang Lead, riod records performances by the Hampton 17 based at Westminster Presbyterian Church Kindly Light. Institute led by Nathaniel Dett on April 21, in Dayton, Ohio), under the direction of John 1930, and by the Tuskeegee Institute in 1933, Finley Williamson, made its fi rst appearance on their way to perform at the opening of in the White House on November 18, 1925. Radio City Music Hall in New York City.20 1900 – 1945 The Star-Spangled Banner was offi cially rec- Hampton and Tuskeegee were the fi rst two ognized as the national anthem on March 3, On May 7, 1906, the Washington Sänger- African-American choirs to perform in the 1931 by President Herbert Hoover (1929– bund hosting the Weiner Männergesangerein White House since Fisk. An additional per- 1933). It was based on the melody of a [Male Singing Society of Vienna] all crowded formance by the Hampton Institute Choir popular gentlemen’s song of the 1770s, To into the East Room to present a perfor- occurred in 1945. mance for Theodore Roosevelt (1901– Anacreon in Heaven. (It appears in George 1909). The program included Schubert’s Henry Davidson’s Universal Melodist, Volume Twenty-third Psalm, Alt niederdeutsches Lied I, London, 1847, and is ascribed to John Staf- [Old German Songs] by Richard Heuberger ford Smith of the Anacreontic Society, an 1945 – Present amateur musician’s group from London.) (a professor at the Vienna Conservatory), Franklin Roosevelt (1933–1945) was One recorded performance by the West- and other German lieder. On December 26, a baritone who took singing lessons at age 1903, a children’s party was held in the East minster Choir took place at 4:00 p.m. on Room with music provided by the Rooney Boys from Chicago. During the William Howard Taft (1909–1913) administration, the Mormon Tabernacle Choir and New York Mozart Society performed. Woodrow Wilson (1913–1921) was a violinist and HONOR CHOIR REPERTOIRE sang tenor in the Princeton University Glee THE AUGUST ISSUE OF THE CHORAL JOURNAL WILL INCLUDE A COMPLETE LISTING OF Club and, later as a graduate student, in the ACDA'S 2012 DIVISION CONFERENCES' ALL-STATE HONOR CHOIR REPERTOIRE. Johns Hopkins University Glee Club, which consisted of thirteen members in 1884. On February 28, 1914, thirty-fi ve members from St. Nicholas Cathedral in New York City performed for Wilson. Warren Harding (1921–1923) was a brass player studying at Ohio Central College. He would on occa- sion play with the Marine Band in the White House. On June 3, 1921, he “celebrated National Music Week with a massive group of 50,000 children and fi ve bands on the Ellipse.”18 Florence Harding was a graduate of the Cincinnati Conservatory of Music. Calvin Coolidge (1923–1929) used choirs
CHORAL JOURNAL Volume 52 Number 11 13 Choral Music in the White House seventeen and was a member and secretary singers started to take their bows, ing (Londonerry Air).27 Lyndon Johnson 21 of the Freshman Glee Club at Harvard. the President interrupted suddenly. (1963–1969), who was responsible for the The Hampton Institute Choir, the Mongolia ‘Haven’t you forgotten something?’ formation of the National Foundation for High School Choir, the Priority Ramblers he asked. ‘There’s supposed to be the Arts, had the New Christy Minstrels of the United Federal Workers of America, another number—The Battle Hymn perform on January 14, 1964. The West- and the Winged Victory Chorus performed of the Republic. It’s here on the minster Choir performed at a state dinner program.’ While the guests listened for Roosevelt. Four choral performances on December 14, 1965, in honor of the in amusement and some amazement, are known to have taken place during the President of Pakistan, Ayub Khan. The choir the bandleader explained that the Harry Truman (1945–1953) terms, including sang Peter Lutkin’s Benediction conducted by song was indeed scheduled, but had the U.S. Naval Academy Choir (February 9, not been rehearsed. ‘We’ll sing it, George Lynn. The Yale Whiffenpoofs turned 1947 and April 4, 1948), Bowdoin College though,’ he said, ‘if you’ll all sing with down an invitation from President Richard Glee Club (March 24, 1948), and the West us.’ And so after one false start, which Nixon (1969–1974) to sing Christmas car- Point Choir from the U.S. Military Academy Waring interrupted to complain ols at the White House in 1973, stating that (April 24, 1948). No performances took good-humoredly that ‘You all sing they were afraid if they appeared it would place in the White House during the later terribly—let’s try again!’ the roomful look as though they supported Nixon during 28 part of 1948 through spring 1952 due to of dignitaries sang the stirring Civil Watergate. Jimmy Carter (1977–1981) extensive renovations. After 150 years, the War anthem, and-tapping her foot called upon Robert Shaw to organize the White House had deteriorated to a point merrily—the Queen joined in, too.25 musical events for his inauguration. The it was deemed unsafe. Everything in the Army Chorus conducted by Major Allen interior was taken out, steel reinforcements The Westminster Choir performed at the Crowell performed on many occasions such were erected and the whole interior was fi rst state banquet of the season (January 16, as the March 29, 1979, celebration of the then put back together so that it was again 1958) held in the White House as guests peace accord between Egypt and Israel.29 the original White House. of President and Mrs. Eisenhower. “The oc- This event was one of Allen Crowell’s last On August 1, 1956, President Dwight casion was in honor of Vice President and performances before he retired from his Eisenhower (1953–1961) signed H.R. 811 Mrs. Nixon, the Cabinet and their wives, duties with the Army Chorus in July 1979. bill to charter the National Music Council, and represented a high point for the Choir In some subsequent program notes from a which represented all volunteer music in the year’s activities.”26 This would be the performance with his University of Georgia 22 groups in the United States. On January last performance at the White House under Men’s Glee Club, he stated: 8, 1957, the Howard University Choir per- the direction of John Finley Williamson, who formed music that was based on Eisenhow- retired in 1958. The Mormon Tabernacle James Kessler, a student of Samuel 23 er’s inaugural message. The popular Fred Choir is recorded as performing in the Adler and graduate of The Eastman Waring and the Pennsylvanians performed White House on October 26, 1958. The School of Music, was for over three times during 1957 for the Eisenhow- list of artists that performed and visited the twenty years the principle staff ers, including a performance on October White House during the John F. Kennedy arranger for The United States 17 for Her Majesty Queen Elizabeth II and (1961–1963) term reads like a who’s who in Army Band and Chorus. It was to His Royal Highness, Prince Philip, Duke of music including Bernstein, Stravinsky, Casals, Jim that Major Allen Crowell turned Edinburgh. “Waring closed with his poignant Barber, Carter, Copland, Dello Joio, Hanson, to provide a significant selection for this important occasion. Jim, arrangement of Battle Hymn of the Republic. Harris, Hovhaness, Menotti, and Schuman. an observant Jew himself, went to When he put down his baton and looked On January 9, 1962, the Vienna Boys’ both embassies and consulted their over at the President, both he and Mamie Choir sang for the President outside his were weeping.”24 Wiley T. Buchanan served cultural attachés to determine what offi ce. The Breckenridge Boys’ Choir from might be appropriate and recognized as Chief of Protocol during the Eisenhower Texas sang on April 16, 1962, on the South by both parties and their delegations. administration and in his book titled Red Lawn of the White House in a concert There is no Arabic choral tradition, Carpet at the White House, describes the for the congressional children. On March but Jim found a monodic chant, October 1957 visit of Queen Elizabeth II 11, 1963, the Boys’ and Men’s Choir of Salma ya salama based on the and Prince Philip: the Philharmonic Society of Poznan (the words for peace, and a folk-like Choir has been attached to the Roman tune by Naomi Shemer, Machar. He After dinner, another 200 guests Catholic Cathedral of Poznan, Poland, since quickly arranged them to be sung in or so were invited to the East 1450) performed in the Rose Garden. In Arabic and Hebrew, and then when Room for forty-five minutes of November 1963, at the funeral of Presi- translated into English for the rest musical entertainment by Fred dent Kennedy, the Naval Academy Catholic of the audience, combined them Waring and the Pennsylvanians. At Choir positioned on the North Portico sang in counterpoint. At the moment the end of the program, when the Above the Hills of Time the Cross is Gleam- the two were sung together, the
14 CHORAL JOURNAL Volume 52 Number 11 Peter’s Way Tours 2013/2014 Festivals A tradition of promoting and drawing the most well attended concert venues!
tenors with the Arabic chant and Duke Ellington Choir from the Duke El- the basses with the hora-like Machar, lington School for the Performing Arts sang. President Sadat rose from his chair, William Jefferson Clinton (1993–2001) walked behind President Carter, was a musician noted for his saxophone and embraced Prime Minister Begin. performances. Many choirs continued the There were not many dry eyes tradition of performing during the holiday 30 under the huge tent. season as visitors viewed the decorated White House. In 2002, during the George W. Many of the choral performances during Bush (2001–2009) administration, the Texas the term of Ronald Reagan (1981–1988) Girls’ Choir performed. In 2005, the Cente- centered on the winter holiday season. On nary College Choir from Shreveport, LA, and January 15, 1983, the Boys Choir of Harlem the University of Texas at Tyler College Choir performed in the East Room as part of the were among those singing.34 In 2006, the observance of Martin Luther King, Jr. The Howard University Chorale (Washington, President remarked “And let me especially D.C.), Oak Hill United Methodist Church thank the Harlem Boys Choir. From what Chancel Choir (Austin, TX), Central Bucks we’ve just heard, I think that you fellows High School Madrigal Choir (Doylestown, could show the famous Vienna Boys’ Choir PA), the Princeton Nassoons College Choir 31 a thing or two.” On December 10, 1984, (Princeton, NJ), and West Potomac High President Reagan signed the International School Soundsations (Alexandria, VA) were •• BBeenneeddiicctt PPaarraaddee Human Rights Day Proclamation and, in his among the performing groups.35 Rome and speech, referred to the youth of the world On May 5, 2005, the St. Olaf Choir, con- Vatican City and stated the following: ducted by Anton Armstrong, performed in May 3 - 5, 2013 • June 6 - 8, 2014 celebration of the National Day of Prayer The other night at the Kennedy for President Bush and Laura Bush. Among • “Europe and its Songs” Center, they had a choir, a United the repertoire was their signature Beautiful International Folksong Choir Festival Nations choir of 90 young people, Savior. The St. Olaf Choir fi rst performed children, in the costumes of their Barcelona, Spain in the White House in 1920, during the native countries from all over the Sept. 18 - 21, 2013 • Sept. 17 - 20, 2014 Harding administration and followed with a world. And looking at them down performance for President Hoover in 1932. there, singing together, I couldn’t help • International Music President Nixon watched one of the St. Olaf but think ‘Good Lord, if we turn it all Choir Festival over to them, they’d get along just Christmas broadcasts and wrote a letter to 36 Rome and Vatican City fi ne together.’32 the choir praising the performance. The African Children’s Choir performed in the July 19 - 22, 2013 • July 18 - 21, 2014 On August 1, 1988, President Reagan made grand foyer of the White House on July 30, • Festival Internazionale comments following a performance by the 2008 as part of a bill-signing ceremony held Eastern High School Choir conducted by for the renewal and expansion of the Global di Musica e Arte Sacra 37 Joyce Garrett. The choir had recently re- AIDS Initiative. The Fisk Jubilee Singers By invitation only were awarded the National Medal of Arts in Orchestra in residence, turned from Europe, where they competed Vienna Philharmonic in the Vienna International Youth Festival. 2008 in a White House ceremony. President Among the President’s comments he said Barack Obama was inaugurated on January Rome and Vatican City “How do you say something when there’s 20, 2009. One of the musical offerings was October Annually a lump as big as a tennis ball in your throat? An Exhortation by composer David Conte Your talent is manifest, your brilliant per- and performed by the San Francisco Girls • Festival Internazionale formance in Europe was an inspiration to Chorus, Susan McMane, conductor, and the di Arte per Giovanni Musicisti all of us.”33 Choirs have participated in the San Francisco Boys Chorus, Ian Robertson, Rome and Vatican City conductor. This work is based on Presi- annual Christmas tree lighting ceremony By invitation/audition only dent Obama’s November 4, 2008, victory since 1923. During George Herbert Walker November Annually speech. An unaccompanied version of the Bush’s (1989–1993) tenure, one such choir Contact us for details was the Roanoke College Children’s Choir work for SATB chorus was commissioned who performed on December 14, 1989. by the Central Bucks High School-West To request a sample program: During the Points of Light Community Chamber Choir, Joseph Ohrt, conductor, Email: [email protected] Service Celebration on April 26, 1991, the and performed for President Obama and or call: 800-225-7662, x111
CHORAL JOURNAL Volume 52 Number 11 15 Choral Music in the White House
First Lady Michelle Obama on December As the first notes of The Star- everyone was singing. The Russians 11, 2011. According to Ohrt, the President Spangled Banner sounded, looked thunderstruck, almost was “thrilled” to hear this musical setting of somewhere in the vast gathering a frightened.38 his words. Among other choirs that have little man started to sing. People performed for President Obama was Sweet stared at him, amazed, but he went The White House has been and will con- Honey in the Rock, who performed on Feb- on singing in a reedy, quavering tinue to be one of the major venues for the ruary 18, 2009. voice. Then, hesitantly, one or two display of American arts. Singing will always Although choral group singing in the others joined him, then more and be part of our American culture. more, until the great dining hall was White House have varied in size of en- fi lled with a roar of voices. It was semble and repertoire, many of the per- an astounding thing; the emotional formances have the attention of the most NOTES impact was tremendous. All the powerful people in the world. It can impact frustration we had been feeling, all 1 Neil W. Horstman, Letter from the White House the moment as evidenced in September the love and pride we felt for our Historical Association, September 15, 2003. 1959 when Nikita S. Khrushchev, Chair- country, all the things we wanted to 2 Elise K. Kirk, Musical Highlights From the White man of the Council of Ministers of the say and could not, found release and House (Melbourne, FL: Krieger Publishing Soviet Union, visited the United States. At came crashing through in the words Company, 1992), Forward. a luncheon, the national anthems of both of the old song. Some people had 3 Elise K. Kirk, Music in the White House: A History of countries were to be played. tears running down their faces, but
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16 CHORAL JOURNAL Volume 52 Number 11 the American Spirit (Champaign, ILL: University 23 Ibid., 267. Congratulating the Eastern High School of Illinois Press, 1986), 23. 24 Ibid., 271. Choir.” August 1, 1988.
CHORAL JOURNAL Volume 52 Number 11 17 Choral Music in the White House: An Afterword DONALD OGLESBY
fter reading Don Trott s article Music “brings us together, helping us refl ect about choral performances in the White House, upon who we are, where we have come from, I wonderedA what presidential commentary about and what lies ahead.” The Arts and Music tran- choral music might be found, and what might scend “languages, cultures, and borders.” In the World Choir Games, musicians came together be solicited from residents of 1600 Pennsylvania “to exchange ideas and styles and share in the Avenue. I sent Trott's article to them in hope artistic vibrancy born from diverse experiences that there might be some replies. Mike Kelleher, and traditions. Their sounds have stirred count- President Obama s director of presidential cor- less audiences and fostered a deep appreciation respondence, replied that because of the demands for music that connects us all. Please accept my on his time, he was not able to comment. Time best wishes as you lift up your voices in song.”2 magazine reports that the President makes Ever- green Chapel, the nondenominational church at The ACDA Web site has a message from the Camp David, his primary place of worship. “The President about the signifi cance of music: 150-seat Evergreen Chapel attracts a congregation of between 50 and 70 people most Sundays,” and President Obama had this to say about the arts there is a choir.1 in a White House Proclamation at the start of President Obama sent a message to the 2010 National Arts and Humanities Month: Millions World Choir Games in Shaoxing, China: of Americans earn a living in the arts and humanities, and the non-profi t and for-profi t arts industries are important parts of both our cultural heritage and our economy.... We must recognize the contributions of the arts and humanities not only by supporting the artists Donald Oglesby is professor of choral studies at the of today, but also by giving opportunities to the University of Miami Frost School of Music and artis- creative thinkers of tomorrow. Educators across tic director and conductor of the Miami Bach Society; he is a former chair of ACDA s Research and Publi- our country are opening young minds, fostering cations Committee. He holds degrees from Birming- innovation, and developing imaginations 3 ham-Southern College, the University of Illinois, and through arts education. Indiana University
In Atlanta, during his days as governor, I d bring the orchestra up every so often at his request to play for state dinners and such. But he d also come to our regular concerts all the time—and he d stand in line and buy tickets.4
Mrs. Carter was most gracious in responding to my request for com- President and Mrs. Carter with Robert Shaw and his stepson Alex at the 1977 mentary:5 inaugural reception, personalized for Alex (Courtesy of Nola Frink and Alex Hitz)
One of the most exciting things When Jimmy was a 4/8/80—The Statler Brothers— about living in the White House midshipman at the Naval Visit of President of Egypt and is the range of performers to Academy, every Sunday Mrs. Sadat choose from when planning during the worship service in events. Almost anyone invited the chapel, the Navy Hymn, 12/16/80—Troupe from Ford will accept, and we invited the Eternal Father, Strong to Save, Theatre performs A Christmas range of entertainers, including was sung. It is an emotional Carol—Cabinet and Senior many choral groups. hymn asking God to watch Staff Party over …the men in peril on the 12/19/80—Hand Bell Choir of The Christmas party for sea. One of our favorite choral St. Mathews United Methodist children of diplomats was a groups is The Sea Chanters. Church—Cabinet, Senior staff, delightful event that we looked They have performed for us and Congressional Democrats forward to every year. It was many times and always sing Amy s favorite, and many of this song, which is still Jimmy s 12/80—Stone Ridge School her friends, being children of favorite. Along with the Navy Chorus—Residence Staff diplomats, were among the Band they entertained the Christmas Party invited. I vividly remember one members of Congress for us of these occasions—12/19/77— at a White House Salute to 12/80—Madrigal Singers of The White House was beautiful Congress event on June 11, the National Cathedral and St. with Christmas decorations. 1980. Albans School—White House We gathered the children into Press the East Room—most of them Among other choral groups
sat on the fl oor—and the cast that performed: I hope this information is of Annie, starring Andrea helpful. McArdle, performed for them. 2/21/77—The Young Columbians— Visit of Prime It was a magical afternoon … for the children and for me. Minister of Canada and Mrs. Trudeau
CHORAL JOURNAL Volume 52 Number 11 19 Choral Music in the White House
President George H. W. Bush has great Now we derive great joy from it in advance.”8 appreciation for the power of music. He our great Texas A&M University In December of 2011, President Clinton proclaimed the Mormon Tabernacle Choir “a Singing Cadets and the Fightin’ Texas was in Coral Gables, FL, signing copies of national treasure” after its performance at his Aggie Band. Also, we are fortunate his book Back to Work: Why We Need Smart inauguration on January 20, 1989.6 in Houston to have great theater, Government for a Strong Economy. Buying a I was delighted to receive a letter from and Barbara and I see nearly every copy, I had a brief moment to speak with President Bush, who expressed his apprecia- musical that comes to town. him and said, “Mr. President, I understand you tion for our request to include his perspec- have been a church choir singer.” His face tives on music:7 Music lifts the spirits and feeds the lit up, and he replied, “You know, I started soul. What would life be without it! singing in choirs when I was eight years old. My father, my mother, my brothers, It has always been a very important part of and my sister all had musical talent. my life.”9 I couldn’t carry a tune—still can’t— President Bill Clinton is known for playing Mr. Clinton is serious about the sig- but I love music. On quiet days in the saxophone and his generosity in giving nifi cance of the arts in people’s lives. In a the offi ce, I’ll pop a CD into my instruments to music programs that needed September interview with Patrick Cole at computer, turn up the volume, and them. He also loves vocal music, as was the 2011 Clinton Global Initiative he said: just enjoy! Sometimes I listen to evidenced by Marilyn Horne’s performance Broadway show music, sometimes I at his inauguration. In his autobiography In a lot of the poorest countries listen to the Oak Ridge Boys. I love President Clinton says that while he was we’re trying to help, the level it all. governor he sang tenor in the Immanuel of violence is a continuous Baptist Church choir. He relates that he undercurrent…. There’s an When I served as Vice President and “looked forward to my Sundays in the choir enormous amount of evidence President, Barbara and I invited some loft of the church, looking at the back of Dr. that shows that giving people an of the best musical entertainers Vaught’s bald head and following along in my opportunity for creative expression in the world to perform for small Bible, as he taught us through the Old and improves their ability to learn in gatherings and state dinners. And, New Testaments.” He enjoyed the beautiful school and increases their ability and of course, we invited the military chapel at Camp David and relates that “they desire to navigate life in a positive bands and choruses to perform on had even let me sing with the choir, always rather than a negative way. countless occasions. The joy they leaving the sheet music in…our family cabin, brought us is something we will on Friday or Saturday, so that I could review He says music “taught me discipline and always remember. teamwork on the one hand and the impor- tance of creativity.” The THEA Foundation in Arkansas has proved the merits of including art instruction in the schools. Clinton says:
Every place they’ve done this program, you see a reduction in the dropout rate and an increase in the academic performance of the young people. Having strong arts instruction supports learning in a It’s all in the details. very substantial way.10 Leave them to us! ACDA is grateful to our Presidents for their comments. At a time when arts education faces serious fi nancial and political concerns, they remind us of the importance Concept Tours of music in life and in education in the United A bridge to the world States.
* * * 155 W. 72nd Street Suite 302 New York NY 10023 Tel: 800-300-8841 www.concept-tours.com In the past few years, music programs have been cut or are in danger in many
20 CHORAL JOURNAL Volume 52 Number 11 An Afterword
schools around the country. Our leaders 3 American Choral Directors Association. “Presi- must understand the signifi cance of the dent Obama Speaks in Support of the Arts” arts in our nation’s history and realize how
CHORAL JOURNAL Volume 52 Number 11 21 TThehe ACDAACDA NationalNational SymposiumSymposium onon AmericAmericaann CChoralhoral MMusicusic
TTHEHE SSEARCHEARCH FFOROR AANN American Style
by John Silantien
UU.S..S. ArmyArmy SSoldiers'oldiers' CChorushorus
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DDavidavid DDeVenneyeVenney
DDavidavid CConteonte LLibbyibby LLarsenarsen UU.. SS.. NNavyavy SeaSea ChantersChanters JJohnohn SSilantienilantien sserveserves aass ddirectorirector ooff cchoralhoral aactivitiesctivities aatt tthehe UUniversityniversity ofof TexasTexas atat SanSan Antonio,Antonio, directordirector ofof thethe SanSan AntonioAntonio SSymphonyymphony Mastersingers,Mastersingers, directordirector ofof choralchoral musicmusic atat UniversityUniversity PPresbyterianresbyterian CChurch,hurch, aandnd CChairhair ooff tthehe AACDACDA NNationalational SSymposiumymposium onon AmericanAmerican ChoralChoral MusicMusic
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The culmination of a seven-year collaboration between ACDA and the Library of Congress will be celebrated June 29–30, 2012, in Washington, D. C. A landmark event, the ACDA National Symposium on PPrincetonrinceton S Singersingers American Choral Music will feature research papers, panel discussions, and concerts. One of our most respected American composers, Conrad Susa, will deliver the keynote address on the symposium theme, “Searching for an American Style.” More information about the genesis JJamesames JohnJohn PPhiliphilip BBrunellerunelle of the ACDA/Library of Congress collaboration can be found in the UUTSATSA CChamberhamber SSingersingers March 2008 and February 2010 issues of the Choral Journal.
WWashingtonashington MMen'sen's CCamerataamerata
GGwynethwyneth WWalkeralker CChildren'shildren's CChorush of Washington orus of Washington at the symposium (David DeVen- ACDA National Symposium on American Choral Music Schedule ney, Philip Brunelle, and James John) will discuss this early search for an American musical style. The symposium will focus not only on composers included on the Library of Congress Web site but also on American musical in- novators composing later in the twentieth and early twenty-first The two-day symposium will focus first centuries. Symposium concert programs will ono composers and music included on the include pieces by Charles Ives, Duke Ellington, Library of Congress Web site, “American Leonard Bernstein, Aaron Copland, Meredith Choral Music.” In building the Web site, Monk, and other uniquely American compos- a team of ACDA conductors/scholars ers. A composers panel consisting of David cky chose public-domain Conte, Gwyneth Walker, and Libby Larsen will teven Stu SSteven Stucky music from the li- discuss the topic, particularly as it pertains to brary’s collection their output. Composers Steven Sametz and written by compos- Steven Stucky will present a session featuring ers active between the Princeton Singers performing new works 1870 and 1923. written during the week of the symposium by During that period, participants in the Lehigh Choral Composers many American Forum. In further documenting the search for musicians received an American style, research presenters will their musical train- discuss a wide variety of topics pertaining to ing at European the symposium theme. Those presentations athaniel Dett Chorale NNathaniel Dett Chorale conservatories and will explore the music of pioneering American adopted the Ger- women composers such as Mabel Daniels manic idiom then and Margaret Ruthven Lang, the influence of current. Gradually, however, music schools F. Melius Christiansen at St. Olaf College, and arose in the United States that began training the modern-day works of Dominick Argento, American musicians. Some of these home-grown Morten Lauridsen, John Harbison, and others. composers searched for a national American Symposium participants will receive a spe- style. Henry F. Gilbert (1868–1928) used cial treat during a session in which some of the African-American melodies as source mate- rare materials and autograph scores from the rial. Midwestern- Library of Congress collection will be discussed SSteventeven SSametzametz ere Arthur Farwell by Music Division Senior Research Specialist (1872–1951)( turned Karen Moses. The final gala concert will fea- tot Native American ture an unprecedented combined performance tribal dances and by the four professional military choruses songs in search of based in the capital area—the U.S. Air Force an American idiom. Singing Sergeants, the U.S. Navy Sea Chant- In 1901, he found- ers, the U.S. Air Force Singing Sergeants, the ed the Wa-Wan U.S. Army Chorus, and the U.S. Army Soldiers’ Press to encourage Chorus. Registration information is available on progressive cur- ACDA’s Web site. SSaintaint MMary'sary's CCollegeollege WWomen'somen's CChoirhoir rents in American music. A scholars/ conductors panel
24 CHORAL JOURNAL Volume 52 Number 11 ACDA National Symposium on American Choral Music Schedule
Symposium venues: New York Avenue Presbyterian Church (NYAPC); Library of Congress (LOC); Westin Washington, D. C. City Center Hotel
FRIDAY, JUNE 29
9:30 – 9:50 a.m. Opening session: Welcome, Sue Vita (Head, Music Division, LOC); Tim Sharp (Executive Director, ACDA); William Belan (Chair, ACDA Research & Publications Committee) (NYAPC)
9:50 –10:20 a.m. Keynote address by Conrad Susa (NYAPC)
10:30 – 11:45 a.m. Conductors/Scholars Panel: “The Search for an American Style” (David DeVenney, Philip Brunelle, James John) (NYAPC)
LUNCH
1:00 – 2:30 p.m. Research Papers (NYAPC)
2:45 – 4:00 p.m. Poster Session (NYAPC)
5:00 – 6:00 p.m. Happy-Hour reception at Westin City Center Hotel
DINNER
8:00 – 9:30 p.m. Concert - Open to the Public/Free of Charge Saint Mary’s College Women’s Choir, Nancy Menk, conductor (Notre Dame, Indiana); The Washington (DC) Men’s Camerata, Frank Albinder, conductor (NYAPC)
SATURDAY, JUNE 30
8:15 – 9:45 a.m. Research papers (NYAPC)
10:00 – 11:30 a.m. Composers Panel: “The Search for an American Style” (David Conte, Gwyneth Walker, Libby Larsen) (NYAPC)
LUNCH
12:45 – 1:30 p.m. Special viewing of Library of Congress rare manuscripts (LOC)
2:00 – 3:30 pm. Concert - Open to the Public/Free of Charge Children’s Chorus of Washington, Joan Gregoryk, conductor; University of Texas at San Antonio Chamber Singers, Dr. John Silantien, conductor; Nathaniel Dett Chorale, Brainerd Blyden-Taylor, conductor (Coolidge Auditorium, LOC)
4:30 – 5:00 p.m. The ACDA Lehigh Choral Composers’ Forum - Pre-concert discussion—Steven Sametz, Steven Stucky (NYAPC)
5:00 - 6:30 p.m. Concert, The Princeton Singers (NYAPC) - Open to the Public/Free of Charge
DINNER
8:00 – 10:00 p.m. Gala Evening Concert Open to the Public/Free of Charge The U. S. Navy Sea Chanters, the U. S. Air Force Singing Sergeants, the U. S. Army Chorus, and the U. S. Army Soldiers’ Chorus (NYAPC) A COPLAND PORTRAIT
MEMORIES OF A FRIENDSHIP, AND THOUGHTS ABOUT HIS INFLUENCE ON AMERICAN CHORAL MUSIC DAVID CONTE
David Conte is professor of composition and conductor of the Conservatory Chorus at the San Francisco Conservatory of Music. In 2007, he received the ACDA Raymond Brock commission. His orchestral works include A Copland Portrait. Conte worked with Aaron Copland in 1982 preparing a thesis on his manuscript sketches
CHORAL JOURNAL Volume 52 Number 11 27 in and out, and, for the fi rst few weeks, would of which I love, but ask me what I was doing there, due to the because I connect onset of a form of cerebral atrophy from it with something which he suffered for many years, beginning Boulanger had said in the late 1970s until his death in 1990 at about her own the age of 90. Eventually, he came to re- compositions, and member me, and we had many wonderful why she gave up interactions during those summer months. composition at I remember, above all, Copland’s sense an early age. She of humor. And his concern. Before retiring realized that her in the evening, he used to jokingly ask me if I own works, though wanted a glass of warm milk, as if it amused technically pro- him to have “junior” staying at his house. I was ficient, were not 26 years old. We used to go for frequent written out of a walks around the grounds of his house. I true “inner need.” asked him many questions about his life and This feeling of the work, and his memory particularly for events absolute necessity of the past was remarkably sharp. behind the choice I once told Copland about Virgil Thom- of every note was son’s visit to Cornell in 1980. In his lecture I deeply important to attended, Mr. Thomson had said that nothing Copland, and trans- new had happened in music since 1913 (the lated into a kind year of the premiere of Stravinsky’s “The Rite of urgency in his of Spring”). Copland immediately yelped: music, a quality that “The old hound!” compels attention He said something cryptic to me about from the listener, Leonard Bernstein. Somehow his name came and brings him into Aaron Copland signs an autograph for a student at the up and Copland said: “Along with Benjy the unique sound University of Miami, as Donald Oglesby looks on (1979). Britten, who departed from us far too soon, world of each piece. Lenny is one of the most fabulously gifted Paul Valery, the great musicians I’ve ever encountered.” I asked French poet and close friend of Nadia Bou- I suggested that I sing through his Twelve him quite innocently: “What do you think of langer, compared her attitude about craft to Poems of Emily Dickinson with him at the his music?”, to which he replied: “One has the painter Ingres, who said: “You must risk piano. In spite of his impaired memory, he the impression that it isn’t always entirely your neck even for a study.” played the diffi cult accompaniments practi- necessary.” I mention this remark not to We spent several afternoons playing cally note perfect and with the pacing and cast aspersions on Bernstein’s music, much and listening to music. I played him the fi rst infl ection that I knew well from his own re- movement of his Piano Sonata. We listened cording with Adele Addison. At the end of to several recordings of his Inscape. He the fi rst song, Nature the Gentlest Mother, I would always jolt jokingly at the sound of the pointed out a chord progression that was opening fortissimo 12-tone chord, another a favorite of mine, a series of descending expression of his good humor. I played him fi rst-inversion ninth chords in the left hand of some of my own music. He cautioned me to the piano accompaniment. Copland seemed continue to pay attention to the importance pleased at my demonstration of pleasure, of each note, a lesson I have never forgotten. and slightly amused at my technical descrip- He was very preoccupied with form and the tion of these chords. The same progression length of pieces, and whether the content occurs again in the 8th song, When They RISERS, FOLIOS, BOARDS & was expressed convincingly in the form. This Come Back. I pointed this out, saying: “There’s MORE @ DISCOUNT PRICES! experience was an important part of the de- that chord progression again.” He responded FREE MUSIC PRODUCTS CATALOG velopment of my own consciousness about coolly: “So it is, so it is.” It occurs yet again 1-800-280-40701-800-573-6013 the handling of forms both large and small. in song number 11, Going to Heaven. I said: www.valiantmusic.com One incident stands out as particularly “And there it is again!” Copland turned to revealing of his personality. One afternoon, me and said in a slightly exasperated tone: “A
28 CHORAL JOURNAL Volume 52 Number 11 A COPLAND PORTRAIT
fellow could lose a lot of friends that way!” of a singer or the sensitivity to the unique pland in greater depth, I enthusiastically A both humorous and sad example psychology of the singer in the sense that recommend Howard Pollack’s magnifi cent of how Copland dealt with his memory Samuel Barber had, our consummate master biography, Aaron Copland: The Life and Work loss occurred when I accompanied him to of music for the voice. But Copland’s assimi- of an Uncommon Man (Henry Holt, New conduct Appalachian Spring for a benefi t for lation of American folk melody in so many York, 1999). the Martha Graham Dance Company at the of his works is an indispensable contribution I end my portrait of Aaron Copland, New York State Theatre in July of 1982. I was to our choral art. Color and character and dear man, and cherished and indispensable assigned to escort Copland into the theater infl ection of language are the seeds of a composer, with two quotes from two other and sit with him for the fi rst half of the national musical style: Debussy’s music em- writers whose insights were valuable guides program and at the intermission to take him bodies this for France; Bartok’s for Hungary; for me as I was beginning my serious study backstage to conduct his work for the sec- Vaughan Williams’s for England, to name just of Copland’s music. ond half of the program. We arrived at the a few. It seems that Copland does this for Bayan Northcott wrote, in a tribute for theater and settled into our seats. Copland American music more profoundly than any Copland’s 80th birthday: opened the program and said in a perfectly other composer. straight-forward tone of voice: “I wonder Perhaps the most original “musical chil- If, somewhat unexpectedly, we are who’s conducting my piece this evening.” I dren” of works such as the Old American witnessing the emergence of a new turned to him, startled, and said: “Aaron, Songs, are two works by Conrad Susa: Two ‘common practice’ in the handling you are.” (Very early in our time together Ballads (1968) and Shenandoah (1964). (Lis- of equal temperament—to which Copland insisted I call him “Aaron,” another ten to Charles Bruffy’s beautiful rendition of serialism has only been the catalyst— sign to me of his utter lack of pretension.) this last with the Kansas City Chorale). These then the compositional signifi cance of Copland’s unique acuity for the He momentarily looked fl ustered, then works contain many of Copland’s unique spacing, duration, and coloring of brightened and said: “Well, young man, it’s a stylistic hallmarks: open-spaced sonorities; pitches can only increase. good thing you’re here to tell me, or I would pandiatonic dissonance; open intervals sug- have wondered off at the intermission to gesting Medieval organum and Machaut, and Virgil Thomson’s words in 1971, in an- have a cigarette!” (Copland never smoked.) early American hymnody and shape-note singing. The ingenuity of Susa’s accompani- other tribute to Copland, seem as true now ments for his ballads in imagining anew the as when he fi rst wrote them: * * * * * original source material owes a great deal to Copland’s accompaniments for his songs. The non-programmatic works...have long served American composers Further sonic infl uence of Copland can In a consideration of Copland’s con- as models of procedure and as be distinctly felt in the music of two compos- tribution to the choral art of our country, storehouses of precious device, all ers widely performed at present: in Morten it is valuable fi rst to explore his general of it ready to be picked right off infl uence on American music. Ned Rorem Lauridsen’s simple diatonic triads with their the shelf. has beautifully described Copland’s music added 2nds, 4ths, and 9ths; and Eric Whita- as “a fact of sonic geology, like a throbbing cre’s pandiatonic chord-clusters arrived at Though it is impossible in an essay of song-fi lled Rock of Gibraltar.” Sounds that through conjunct motion. These are sounds this length to list all the American compos- Copland imagined for the fi rst time are so and colors that, again, Copland imagined for ers who have been infl uenced by Copland, much a part of our musical vernacular that the fi rst time. (or those who would make a claim to the just a few notes of wide-arching upward Most choral musicians know well Cop- contrary for whatever reasons), Copland’s intervals evoke a particuarly American land’s two sets of Old American Songs, and In musical voice is so powerful and pervasive optimism, a reaching out and upward, of the Beginning. (I was lucky to hear an extraor- that ever since Appalachian Spring, the com- both the open spaces of the prairie and the dinary performance of this challenging work, posing of a simple triad is very diffi cult to towering skyscraper. Consider the opening sadly not recorded commercially, with Vance do without sounding like Copland. Born at three notes of Fanfare for the Common Man George’s San Francisco Symphony Chorus the dawn of the last century, in his creation (Sol-Do-Sol).The energy of the rhythm— and soprano Roberta Alexander, under the of new and shining sound images, he heard two sixteenths followed by an eighth; the direction of expert Copland interpreter fi rst for us all. openness of a perfect fourth followed by a Michael Tilson Thomas.) Two choral works perfect fi fth—this is an indication of genius; that deserve to be better known are Canticle the ability to capture the spirit and character of Freedom (1955) for chorus and orchestra, of a people in a few notes. and his two choruses for Women’s Voices: An It is important to say that Copland was Immorality and The House on the Hill (1925). not a singer, and did not have the intuitions For those interested in exploring Co-
CHORAL JOURNAL Volume 52 Number 11 29 The Choral Arrangements of Alice Parker and Robert Shaw Jim Taylor Alice Parker (b.1925) and Robert Shaw (1916–1999) created two hundred arrangements of carols, early American folk hymns, love songs, sea shanties, hymns, Irish songs, spirituals, and Stephen Foster songs for audio recordings made by the Robert Shaw Chorale between 1950 and 1967 for the RCA Victor Corporation. The Parker/Shaw arrangements have been great favorites over the years with choral conductors because they are well-crafted, earnest and passionate, and fun to sing and hear. Their accessibility and lively sense of musical intelligence make them excellent vehicles for training developing singers in the art of four-part unaccompanied singing, particularly in building skills in contrapuntal independence, text expression, and rhythmic vitality. This article provides an overview of Parker’s and Shaw’s output, and describes their remarkable collaboration and the unique time in which they worked. Jim Taylor is drector of choral activities at Kilgore College in Kilgore, Texas. His graduate studies were at the University of Miami (MM) and the University of Alabama (DMA)
CHORAL JOURNAL Volume 52 Number 11 31 The Choral Arrangements of
The Robert Shaw Chorale made The Nine Genres of • Stephen Foster songs seventeen recordings between 1950 and Parker-Shaw Arrangements A Stephen Foster Songbook 1967 that contained arrangements by Alice Parker and Robert Shaw (Table 1). • Easter and Christmas carols • Early American folk hymns Of the musical material on these albums, A Treasury of Easter Songs What Wondrous Love some were arranged by Shaw alone, or Christmas Hymns and Carols, Vol. II2 Sing to the Lord by other arrangers. The last two albums Christmas Hymns and Carols, Vol. I were arranged by Parker alone: Shaw • Sea shanties made no editorial changes to her work. • Love songs Sea Shanties The far right column refers to the number Sweet and Low of masterworks that were edited by With Love from a Chorus • Glee club songs Parker and Shaw as distinguished from My True Love Sings Twenty-Three Glee Club Favorites their arrangements, because these editions A Chorus of Love did not involve arrangement but only • Irish songs provided performance suggestions regarding • Hymns and songs of faith Irish Folk Songs dynamics, phrasing, tempo, etc. A Mighty Fortress These seventeen recordings may be Songs of Faith and Inspiration The Parker-Shaw arrangements record- grouped into nine musical genres, as follows: ed on the fi rst two albums were published • Spirituals by G. Schirmer, and are today distributed Deep River by the Hal Leonard Corporation. From I’m Goin’ to Sing the third album onward, Robert Shaw and
Table 1 Robert Shaw Chorale Recordings Containing Parker-Shaw Arrangements1
Title of album RCA Victor Year Number of Number of album number released Parker-Shaw Parker-Shaw arrangements on album editions on album
A Treasury of Easter Songs RCA LM 1201 1950 10 7 Christmas Hymns and Carols, Vol II RCA LM 1711 1952 20 4 Sweet and Low (TTBB) RCA LM 1800 1954 4 0 With Love from a Chorus (TTBB) RCA LM 1815 1954 16 0 My True Love Sings RCA LM 1998 1956 20 2 Christmas Hymns and Carols, Vol. I RCA LM 2139 1958 18 5 A Mighty Fortress RCA LSC/LM 2199 1958 15 0 Deep River RCA LSC/LM 2247 1958 2 0 A Stephen Foster Songbook RCA LSC/LM 2295 1959 16 0 A Chorus of Love RCA LSC/LM 2402 1960 15 0 What Wondrous Love RCA LSC/LM 2403 1960 18 1 Sea Shanties RCA LSC/LM 2551 1961 16 0 Twenty-Three Glee Club Favorites RCA LSC/LM 2598 1962 7 0 Songs of Faith and Inspiration RCA LSC/LM 2760 1964 1 Parker 0 I’m Goin’ to Sing RCA LSC/LM 2580 1964 16 0 Sing to the Lord RCA LSC/LM 2942 1967 16 Parker 0 Irish Folk Songs RCA LSC/LM 2992 1968 16 Parker 0
32 CHORAL JOURNAL Volume 52 Number 11 Alice Parker and Robert Shaw
Walter Gould (Shaw’s manager) published American public, and thus fund the re- royalties, and the cost of instrumentalists the arrangements under the company cordings of more serious music.8 As Shaw could be avoided by arranging for unac- “Lawson-Gould Publishing” that they formed considered the limited time available in his companied voices.12 in 1953.3 Warner Brothers acquired the schedule for producing such arrangements, For the fi rst project of Easter carols, Lawson-Gould catalogue in 2000, and Alfred he remembered Alice Parker, who had been Parker went to the Music Division of the Music Publishing Company subsequently a graduate student under him at Juilliard.9 In New York Public Library and was delighted bought it in 2005.4 A number of Parker/ addition to her studies and many rehearsals, to fi nd an abundance of melodies and texts Shaw arrangements are, unfortunately, on she had written program notes, researched that suited their needs. During the next few Alfred Music’s “permanently out-of-print” list. repertoire, and done all manner of odd jobs months, Parker prepared a sheaf of sketches, An alphabetical catalogue of the Parker- for him.10 More than that, she had a degree which she played for Shaw at their next Shaw arrangements, that contains publisher in music composition from Smith College, meeting. Shaw listened to the whole set, and other information, follows this article. and had a temperament that was easy for and, according to Parker, reworked them in a Traditionally, this body of music has been him to work with. He approached her with way more demanding than any she had ever known as the “Shaw-Parker” catalogue, the suggestion that she seek out appropriate seen. “Each note, word, and phrase had to be due to the more famous name of Robert melodies and texts, and compose a series of just right. Each voice part had to invite the Shaw. The arrangements, however, were re- arrangements of them that the two would singer into the phrase. He allowed no split- ally primarily the work of Alice Parker, with rework together before the recording ses- ting of voice parts, no new and ‘interesting’ Shaw serving principally as a scrupulous sion.11 harmonizations, no effects for effects’ sake.”13 editor. For this reason, this article will refer Shaw believed that the best approach The texts were to be expressed artfully, and to them throughout as the “Parker-Shaw” would be to produce albums of folk materi- the melodies were to be respected for their arrangements. als that would be both attractive to singers original beauty. She had majored in composi- and listeners and inexpensive to produce. tion in college, but no one, she says, had ever The Genesis Only melodies and texts in the public do- subjected her pieces to this kind of detailed of the Collaboration main would be used in order to avoid paying reworking.14 Robert Shaw moved from California to New York City in 1938 to work with the Fred Waring Glee Club and its radio broadcast performances. Three years later, Shaw founded and directed the Collegiate Chorale, a highly dedicated amateur New York chorus that grew into a signifi cant symphonic chorus under his leadership.5 In the following years, Shaw established a reputation in America through performances is proud to represent and the choral arrangements of which, according to choral historian Ray Robinson, brought a quality of excellence to and choral singing that had not previously been Alice Parker experienced by American audiences.6 In 1948, Shaw formed the Robert Shaw Cho- Robert Shaw rale, which for two decades was America’s premier touring choral group, being sent by the U.S. State Department to 30 countries in Europe, the Soviet Union, the Middle East, and Latin America.7 In 1948, the Robert Shaw Chorale fi rst toured the United States and was signed Two Newly-Engraved to an exclusive recording contract by RCA Price-Saving Collections! Victor. Shaw wished to record only choral masterworks, but RCA Victor wanted to produce recordings of the Shaw Chorale For information on these and other Alice Parker publications, performing light popular music as well, in please visit alfred.com and enter “Alice Parker” in the search area. the hope that these would sell well to the
CHORAL JOURNAL Volume 52 Number 11 33 The Choral Arrangements of
This process was repeated with each It can be seen that this collaboration, radio and television broadcasting, concerts, new album, and after 1959, Parker chose at fi rst, was not one of equals. Shaw was record album sales, and national and inter- the songs herself; Shaw had no idea what the master, Parker was the student tasked national performance tours. The animated he might hear.15 He would stand behind with fulfi lling the master’s requirements. She Walt Disney movies of the period, Peter Pan her, and, as she played, she was forbidden to learned his method, acquired more freedom (1953) and Sleeping Beauty (1959), each say a word: no explanations, no justifi cations, as she progressed, and, fi nally, required no featured a Shaw-like chorus on the sound no pointing out a clever bit of counterpoint. more supervision by Shaw. The collaboration track, showing the medium’s wide appeal in She played and occasionally sang a line that is a perfect modern example of the historic the popular culture at this time. would not fi t under her fi ngers. Quite fre- apprentice/master relationship: teaching by According to Philip Jeffrey Morrow, quently, a hand with a pencil would come doing under the close scrutiny of a master two different types of American profes- into vision and place a small “x” on the page. craftsman. Parker used this metaphor herself sional choruses existed at this time: those She had to keep playing, knowing that some when she said in 1996, primarily oriented toward entertainment, imperfection had grazed that listening ear.16 and those that focused on the performance It finally struck me that I had of traditional choral literature, though each Gradually, I was able to anticipate experienced a Medieval-style might present the other style to a minimal the pencil and to feel its presence apprenticeship in Renaissance degree as well. The former included the even in my fi rst sketches. I learned compositional techniques, a rarity in well-known choirs of Fred Waring, Ward to edit my own ideas and brought in the twentieth-century musical world. Swingle, and Ray Coniff, and the male chorus sketches that needed fewer changes. I had learned the craft of writing directed by Mitch Miller in his syndicated …Robert brought to my sketches for voices, which, in a strange and television show, Sing Along with Mitch. The his incredible ear and a God-given wonderful way, released my own 18 latter, those choirs performing primarily sense of structure, inevitability of compositional ideas. traditional literature, included the Robert movement, and clear linear simplicity. Shaw Chorale, the Roger Wagner Chorale, He saved me from my youthful and the Gregg Smith Singers, and other excesses: too many ideas, sprawling Historical Context choirs representing the different choral structures, awkward diction, and traditions of the period.20 This was also the unfinished, un-honed vocal lines. According to Walter Gould, the period …The last two albums the Shaw between 1950 and the mid-1960s was a period of the American Folk Music Revival, Chorale recorded were entirely unique time in American musical culture, and a concomitant expansion of scholarship mine: subject matter, choice and especially suited for the kind of music cre- on American folk hymns. Beginning with sequencing of tunes, arrangements, ated by Shaw and Parker. He referred to Woody Guthrie in the late 1930s, this revival and markings. It took me 15 years, this era as the “Golden Age” of choral music featured lyrics of harsh personal experience but I fi nally learned.17 in America.19 Choral music was popular in in the Dust Bowl era and the Great Depres- sion with social commentary and criticism in blues- and Appalachian-infl uenced songs.21 It continued with Pete Seeger in the 1940s, and the engagement of college students and intellectuals in the ideals of populist folk song.22 The popularity of folk music found yet a wider audience when in 1958 a group called the Kingston Trio placed a folk song, I’m Gonna Sing Here. Tom Dooley, at the top of the pop chart rat- ImagineImagine singingsinging on the veryvery stagestage once occupiedocc ings. Their success was aided by their image by a great composer, or performing in the charming as all-American boys from California, wearing village where Mozart penned his first score. Our tour venues will inspire you. The appreciative audiences will crew cuts and collegiate outfi ts, not overalls ignite your very soul. and work shirts, and singing Tennessee bal- lads, not protest songs.23 These cultural changes infl uenced the choices of Parker and Shaw, who were responding to their label’s request for music that would be popular with a gen- eral audience. The Parker-Shaw catalogue is All the world’s a stage - Let us put your choir on it. comprised primarily of folk music materials, CulturalTourConsultants.com • Toll Free 866.499.3799 to which the discography of Robert Shaw
34 CHORAL JOURNAL Volume 52 Number 11 Alice Parker and Robert Shaw
Chorale albums containing Parker-Shaw to grasp the essence of music, and his “fa- training, often infusing rustic music with a arrangements attests. Easter and Christ- natical attention to detail.”27 He was praised classic quality. A parallel can be made with mas carols, and favorite hymns, can also be by classical musicians of the highest stature, the dances and divertimenti written by considered folk music: they are songs that including Francis Poulenc, Arturo Toscanini, Mozart for a few gulden: musicians with the have been transmitted to us though years Leopold Stokowski, and Julius Herford.28 highest mastery of the most complex forms of folk-culture tradition.24 Alfred Mann, Professor of Musicology at the of music of their day were applying all of The presence of choral music and folk Eastman School of Music and editor of the their knowledge of their craft to a simple, music in American popular culture dimin- American Choral Review, mused, “I imagine yet worthy and pure, repertoire. ished quickly, however, likely due to the that [Shaw’s] music-making is something changes that occurred in popular music in similar to—and is as wholesome and alive the mid-1960s. Folk music icon Bob Dylan as—what Bach’s and Handel’s must have Summary himself turned toward rock ‘n’ roll, and been; though we can be sure that neither The Parker-Shaw collaboration began changes in popular music across the board of the two great masters had anything in the bustle and rush of what Shaw’s bi- proved to be pervasive, international in approaching Shaw’s miraculous rehearsal ographer Joseph A. Mussulman called his scope, and lasting.25 Shaw’s move in 1967 technique.”29 “white-hot years,” his 30s and 40s, during to Atlanta to assume directorship of the For her part, Parker had earned a degree which time he exerted tremendous energy Atlanta Symphony Orchestra and Cho- in composition from a highly respected col- in numerous endeavors.32 Shaw needed rus—the end of the Robert Shaw Chorale lege, while, as a teenager, she was fond of some good arrangements of popular folk and the Parker-Shaw collaboration—hap- big band and swing music, popular songs, materials, but he was busy and needed to pened to coincide with the Beatles’ release and songs from shows,30 so she was not at delegate their creation; he needed someone of “Sgt. Pepper’s Lonely Hearts Club Band,” all out of touch with music in the popular whom he could trust to do good research, a defi nitive point in the history of modern culture. to make intelligent sketches from which to popular music. Though theirs were not arrangements of begin, and with whom he could work and classical music, Parker and Shaw’s connec- teach “the ropes” of producing the choral tion to the classical masters was at the fore- sound he desired. Alice Parker was his “go- Classical and Popular front of their minds, as described by Parker: to” person, and she succeeded wonderfully, Music Elements beginning as a learner and developing into a We were very conscious of the The endurance and quality of the great a cappella literature of the past consummate master of the style. Parker-Shaw catalogue lie, to a large part, centuries as we worked. (We were It was the perfect time for them to in its creators’ thorough knowledge of putting together programs for the work, with choral music and folk music be- classical and popular music. Shaw knew Chorale in those same months, so ing concurrently popular, providing a wealth popular music thoroughly: he grew up sing- were saturated with it.) There are of copyright-free foundational material, and ing gospel songs in his pastor father’s family moments in the arrangements that an enthusiastic audience to appreciate it. choir, and went on to sing and ultimately remind me of specifi c measures of As Shaw considered the style of music that direct the men’s Glee Club at Pomona Brahms, of Victoria, of Poulenc, of would best meet RCA Victor’s requirements, College. His work with Fred Waring’s Glee Bach (of course!) and Haydn—just he brought to bear his vast glee club experi- Club in New York stood at the top of the to take a beginning look. It wasn’t ence and combined it with the great classi- pop vocal world of the day. Once Shaw so much that we were using other cal knowledge he had gained, resulting in a began preparing the Collegiate Chorale for folk arrangements as models, as choral concept which he taught to Parker. performances by renowned conductors, his that we were fi tting what we were This music refl ects folk-based music of high innate musicianship became apparent, and doing into the great tradition. (In quality that communicates the text, is faithful these musicians urged Shaw to remedy his the process, I lost whatever scruples to the spirit of the original melody, exercises lack of technical musical training. This was I had had about ‘arranging’ as an good taste, and entertains the listener. The inferior species, and saw it, too, in a accomplished by intense structural and variety of the catalogue is great: among these historical light: all the pieces based analytical studies with Julius Herford through choral arrangements emotional expression on canti fermi, or chorales, or all the a Guggenheim Fellowship in 1942 and 1943, ranges from the dark, serious, and mystical to ‘theme and variations’ of the past the joyous, lighthearted, and downright fun. It the fi rst such fellowship ever awarded to eras, as superb examples of creative 26 is no wonder that the Parker-Shaw arrange- a conductor. Shaw’s classical training be- work.)31 came so complete that he was appointed ments have remained on the performance lists of church choirs, high school choirs, col- in 1946 by William Schuman to the faculty This music was created for profi t in the lege and university choirs, and community of the Juilliard School, an appointment only commercial market of album sales, yet choruses for over half a century. understandable in the light of Shaw’s ability imbued with classical experience, taste, and
CHORAL JOURNAL Volume 52 Number 11 35 The Choral Arrangements of
Style Characteristics of ridsen usually require large accomplished • These arrangements are melody-oriented Alice Parker/Robert Shaw choruses for successful performance, due rather than harmony-oriented. The focus Arrangements33 to frequent advanced divisi voicings. Most of this music is not so much on the beauty of the Parker-Shaw works can be sung by a of its harmony, but on the melody and the small unaccompanied ensemble. counterpoint that fl ows from it. Each voice • Almost all of the arrangements are for part has its own tunefulness, which makes it unaccompanied voices. Tunes were to be • Ranges are not extreme, but fall within fun to sing, and the music has a clear direc- taken from public domain sources and ar- the normal tessitura of the voice. Only a few tion with a sense of destination. This is in ranged for unaccompanied voices primarily of the arrangements have the basses de- opposition to choral music that is principally for fi nancial reasons. scend to a low D, and the sopranos sing no chordal, or that which depends on beautiful higher than an A above the staff. (Basses in harmonies for its appeal. • The scores are excellently edited and Dere’s No Hidin’ Place do descend to a low C clearly marked—but not over-marked. It in the penultimate bass note, a Parker-Shaw • Counter-melodies and background har- is almost always possible to discern their text painting denoting the depths of hell.) mony lines are largely taken from melodic expressive intent, but there is also room for motives. This characteristic brings about a the conductor to interpret. Too many mark- • Phrase lengths are within the capacity homogeneous quality in an arrangement, ings becomes tedious and the conductor is of the breath. Very rarely is the effect of and a distinct character pervading each. inhibited; too few and the performance is staggered breath required, and then only left without suffi cient guidance. These show to maintain a continuous “oo” sound in • Harmonies are not complex; “resultant a wonderful balance. background voices. harmony” is frequent. When working with melodies with conventional scales in major • The pieces are accessible to a good high • Texts are at all times clearly understand- and minor tonality, chords are extremely school choir or community chorus, though able. Communication of the text and its simple, with only an occasional ninth or they were originally arranged for the profes- message was absolutely essential to Parker similar extended chord. When working with sional voices of the Robert Shaw Chorale, and Shaw. Polyphony was handled in such modal melodies, however, there is much and not intended for sales to the choral a way that the story of the song was never diatonic non-triadic harmony, which is called market. Not one can be termed “extremely obscured. by Parker “resultant” harmony. This refers diffi cult.” This is noteworthy, because in our to the vertical harmony resulting from the own day, the spirituals of Moses Hogan and • An emphasis on simplicity and clarity. confl uence of independent vocal lines. The the arrangements of Whitacre and Lau- The Parker-Shaw catalogue is marked by composer is not giving primary attention to form that is crystal clear, counterpoint that harmony here, but to melody. is never muddy, and textures that tend to be lean rather than over-weighted. Unison and • Voice part independence in four-part ho- two-part textures are frequent, especially mophony. Though straight, hymn-style block the ST/AB two-part voicing. Music is never writing is certainly present in short passages, “over-arranged.” more often in homophony, voices will enter Tropp Music Editions or exit with a sense of independence, behav- proudly presents • Multiplicity of voicings within an ar- ing melodically, and giving life and character rangement. Invariably the arrangers will to each voice part.34 alter the combinations of singers during the arrangement for the sake of expression of • Great rhythmic drive/interest in rhyth- the text and interest. This compensates for mically-based pieces. Syncopations, strong the simplicity mentioned above in providing background rhythms, accents, meter changes, variety within restraint. tenutos, ritardandos, silences, and other rhythmic effects create a sense of vitality. • A wide variety of dynamics and articula- The Robert Shaw Chorale was particularly Scholarly editons and recordings of lost masterpieces of tion within a piece, often with sudden con- known for its rhythmic precision, and those eighteenth century liturgical music. trasts. The Parker/Shaw works sparkle with who have sung under Shaw recall the atten- vitality, and it is often the sudden changes of tion he gave it. (224) 649-6000 musical expression from loud to soft or from www.GalantMusic.com marcato to legato that provide energy and • Frequent use of imitation in a variety of intensity. These changes are always based forms; for instance, voice parts might enter upon the message of the text. with Josquin-like imitative counterpoint, one
36 CHORAL JOURNAL Volume 52 Number 11 Alice Parker and Robert Shaw
voice part may imitate another exactly, or a I later. So it’s not as backward as it sounds. (Englewood Cliffs, NJ: Prentice-Hall, 1973): cluster of background voices might echo the (One can still get that fi rst version of Vol. 8–33. 21 words and rhythm of the melody but with I—it’s amazingly different.” (Parker, e-mail Martha Bayles, Hole in Our Soul: The Loss of Beauty different pitches. communication with author, March 18, 2011) and Meaning in American Popular Music 3 “Lawson” was Shaw’s middle name. (Chicago: The University of Chicago Press, 4 • Frequent use of pedal points and ostina- Alice Parker, e-mail communication with author, 1994): 210. August 4, 2011. 22 Carole Pegg, “Folk music,” Grove Music Online, tos. These are particularly apparent in the 5 arrangements of modal melodies, but can Joseph A. Mussulman, Dear People…Robert Oxford Music Online,
Shaw: Refl ections at Eighty,” Choral Journal 36, Harry Belafonte. • A preference for modality and gapped no. 9 (April, 1996): 9. 24 Many scholars now prefer the term “traditional 8 scales over tonality. Parker prefers to be Alice Parker, “Parker-Shaw Memories,” 15. music” to “folk music” to distinguish it from 9 free from the constraints of the melodic Shaw was at Juilliard from 1946–49, and Parker art or popular music. According to Carole leadings and chordal relationships inherent was there from 1947–49. Pegg, the word “traditional” is helpful “to 10 in tonality. Working within a modal idiom Parker, “Remembering Robert Lawson Shaw,” The distinguish between indigenous rural and gives the arranger, she says, great freedom to Voice of Chorus America 21, no. 4 (Summer, urban traditions (as in the Middle East); and use devices such as imitation, pedal points, 1999): 13. to distinguish ‘community music-making’ 35 11 and ostinatos. Parker, “Parker-Shaw Memories,” 15. from ‘popular music’ intended for mass 12 Ibid. dissemination or marketing” (i.e., Cuban 13 • General avoidance of the leading tone, Ibid. music). Pegg op. cit., accessed May 16, 2009. 14 even in dominant function. In this same con- “We didn’t have any rules when we started. He 25 Bayles, op. cit., 213ff. 26 text, Dr. Parker feels there is more elemental just reacted to each piece that was in front Mussulman, op. cit., 53–54. 27 power in staying clear of the leading tone, of him at the moment, trying to make it Ibid., 54. 28 even when working in a tonal idiom.36 work for next week’s recording session. He Quoted in Musselman at 97, 58, 25, and 54. would never begin without an ‘idea’—and 29 Alfred Mann, “Shaw as Student of Musicology: • A tendency to write more frequently the idea always came from (1) the text and Recollections,” Choral Journal 36, no. 9 (April, (2) the melody of the tune. (My formulation, 1996): 21. for men’s voices than women’s. A second 30 or third verse, for variety, will be more often not his. He never theorized.)” (Parker, e-mail Alice Parker, telephone interview with author, communication with author, August 3, 2011) May 27, 2009. given to men’s voices than to women’s. 15 Parker, e-mail communication with author, 31 Parker, e-mail communication with author, May 27, Parker says this stems not only from Shaw’s September 17, 2011. 2009. vast experience with men’s glee clubs, but 16 Parker, “Parker-Shaw Memories,” 15. 32 Mussulman, op. cit., 81ff. also from the fact that, with men’s voices, 17 33 Ibid., 16, 18. Alice Parker concurs with this summary of the 18 there is a bass line, whereas with women, Ibid., 18. style characteristics of her work with Shaw. 19 “there’s often that ‘fl oating in the air’ feeling William Wells Belan, “Recording, Touring, and (E-mail communication with author, July 31, 37 that comes from no anchor.” Publishing—Yesterday and Today: An 1911) Interview with Walter Gould,” Choral Journal 34 “Shaw would often change one voice part to be 36, no. 9 (April, 1996): 32. non-homophonic—in order to get variety in 20 NOTES Phillip Jeffrey Morrow, “The Infl uence of the the hymn-sounding texture.” (Parker, e-mail Robert Shaw Chorale, the Roger Wagner communication with author, July 31, 2011) 1 Alice Parker, “Parker-Shaw Memories,” Chorale, and the Gregg Smith Singers on 35 Parker, e-mail communication with author, Choral Journal 36, no. 9 (April, 1996): 17. the Professional Chorus in the United December 29, 2011. Mussulman’s discography differs on some States,” (DMA dissertation, Southern Baptist 36 Ibid. of the dates. Joseph A. Mussulman, Dear Theological Seminary, 1993): 28. A treatise 37 Parker, e-mail communication with author, August People…Robert Shaw. (Bloomington, IN and on the different approaches to choral singing 3, 2011. London: Indiana University Press, 1979), in America during the 20th century and 251–56. the choirs that represented them is found 2 The earlier Christmas album is titled Vol. II in Howard Swan, “The Development of a for the following reason: “Shaw recorded Choral Instrument: Schools of Choral Singing Carols I before I came to NY. My fi rst Xmas in America,” in Harold A. Decker and Julius Album was #2, and they re-recorded Vol. Herford, ed., Choral Conducting: A Symposium
CHORAL JOURNAL Volume 52 Number 11 37 The Choral Arrangements of
ALPHABETICAL CATALOGUE OF PUBLISHED PARKER-SHAW ARRANGEMENTS AND EDITIONS
by Jim Taylor
Entries appear alphabetically, including the following information: title; statement as to whether the entry is a choral ar- rangement, edition, or translation; date of arrangement; voicing; tune source; text source; publisher and its catalogue number, approximate duration where available; and copyright date when different from date of arrangement. Selections on the Alfred “Permanently Out-of-Print” list are indicated at the end of the entry. All titles are SATB a cappella unless indicated otherwise. G. Schirmer titles are distributed by the Hal Leonard Corporation, and where possible, current Hal Leonard numbers are included, prefixed by “HL.” Those lacking this are still obtainable from Hal Leonard with the old G. Schirmer number. Alfred Music Publishing distributes the Lawson-Gould catalogue, which retains the initial “LG” prefix. Abbreviation AMH = American Mountain Hymns
Choral Arrangements And Editions
Adios Catedral de Burgos, Choral Arr, 1956, Aupres de ma Blonde, Choral Arr, 1956, Tune Blow the Man Down, Choral Arr, 1961, TTBB(A), Tune source: Trad Spanish, Text source: Trad French, Text source: Trad French, TTBB(B), Tune source: English shanty, Text source: Trad Spanish, LG658, 2:49 LG644, 1:32 source: English shanty, LG51055, 1:32
Al Olivo, Choral Arr, 1956, TTBB, Tune source: Aura Lee, Choral Arr (w/ Shaw and Robert Boar’s Head Carol, The, Choral Arr, 1951, Trad Spanish, Text source: Trad Spanish, Hunter), 1954, TTBB, Tune source: Poulton, TTBB, Tune source: Trad English 1521, Text LG670, 1:02—permanently out of print Text source: Fosdick, LG527, 2:24 source: Trad English 1521, G. Schirmer HL50305010, 1:02, Copyright date 1952 All Hail the Power, Choral Arr, 1958, SATB/ Avenging and Bright, Choral Arr, 1967, TTBB, org, Tune source: Shrubsole, Text source: Tune source: Trad Irish, Text source: Trad Irish, Bound for the Rio Grande, Choral Arr, 1961, Perronet, LG769, 2:15—Available in Alfred LG51443, 1:55 TTBB(T), Tune source: Trad shanty, Text source: Trad shanty, LG51056, 2:19 collection Hymns and Carols LG51097—per- Away in a Manger, Choral Arr, 1957, Tune manently out of print as an individual octavo source: Trad carol, Text source: Trad carol, Break Forth (Bach) Choral Ed, 1952, Tune Allons, Gay Bergeres (Costeley) Choral Ed, LG719, 1:45 source: J.S. Bach, Text source: Rist, 1641, G. Schirmer 10180, 1:28 1952, Tune source: Costeley, Text source: Ballynure Ballad, A, Choral Arr, 1967, SATB(B), Trad, G. Schirmer HL50305000 Tune source: Trad Irish, Text source: Trad Irish, Bright Canaan, Choral Arr, 1960, Tune Source: Amazing Grace, Choral Arr, 1960, Tune formerly LG51457, now APMC (Alice Parker AMH: Bright Canaan, Text source: Mountain source: Solon, Text source: Newton 1779, Music Co.), 1:45, Copyright date 1969 hymn, LG919, 2:00, Copyright date 1961 LG918, 3:35 Beautiful Dreamer, Choral Arr, 1959, SATB(T), Bring a Torch, Jeanette, Isabella, Choral Arr, Angels We Have Heard on High, Choral Arr, Tune source: S. Foster, Text source: Foster, 1957, Tune source: Trad French, Text source: 1957, Tune source: Trad French, Text source: LG853, 3:00, Copyright date 1960 Trad French, LG713, 1:30 Trad French, LG718, 1:58 Begin, My Soul, Choral Arr, 1960, Tune source: Broad Is the Road, Choral Arr, 1960, Tune Annie Laurie, Choral Arr, 1956, Tune source: AMH: Watt’s Lyre, Text source: Mountain source: AMH: Read, Windham, Text source: Trad Scottish, Text source: Douglas, LG647, hymn, LG909, 1:30 Watts, LG910, 2:20, Copyright date 1961— 2:45 Available in Alfred collection of Hymns and Believe Me If All Those Endearing Charms, Carols LG51097—permanently out of print. A-Roving, Choral Arr, 1961, TTBB(T)pno, Tune Choral Arr (with Shaw and Robert Hunter), source: English shanty, Text source: English 1954, TTBB(T), Tune source: Trad Irish, Text Bunker Hill (Law) Choral Ed, 1955, Tune shanty, LG51054, 2:54 source: Moore, LG528, 2:58—permanently source: Law, Text source, Nathaniel Niles, out of print LG553 Auld Lang Syne, Choral Arr, 1960, TTBB, Tune source: Trad Scottish, Text source: Burns, Black, Black, Black, Choral Arr, 1956, SATB(T), Calvary’s Mountain, Choral Arr, 1967, Tune LG51018, 3:35 Tune source: Trad USA, Text source, Trad source: AMH: Calvary’s Mountain, Text USA, LG656, 3:20 source: Mountain hymn, LG51341, 3:41
38 CHORAL JOURNAL Volume 52 Number 11 Alice Parker and Robert Shaw
Camptown Races, De, Choral Arr, 1959, Croppy Boy, The, Choral Arr, 1967, SATB/hp or Easter Eggs, Choral Arr, 1951, SATB(SBar or SATB/pno, Tune source: S. Foster, Text source: pno, Tune source: Trad Irish, Text source: Trad T), Tune source: Trad Russian, Text source: tr Foster, LG865, 1:35, Copyright date 1960 Irish, LG51410, 3:53, Copyright date 1968 A.F.D., G. Schirmer 9956 Carol of the Birds, Choral Arr, 1951, SATB(S), Da unten im Tale (Brahms) Choral Ed, 1957, Fa una canzone (Vecchi) Choral Ed, 1956, Tune source: Trad Spanish, Text source: Trad Tune source: Brahms, Text source: Tr AP, Tune source: Vecchi, Text source: tr AP, LG556 Spanish, tr Schindler/Taylor, G. Schirmer LG671, 1:24 HL50304960, 4:02, Copyright date 1952 Fairest Lord Jesus, Choral Arr, 1951, SATB/org, Darling Nellie Gray, Choral Arr, 1960, Tune source: Silesian, Crusader’s Hymn, Text Charge to Keep I Have, A, Choral Arr, 1967, TTBB(T), Tune source: Trad USA, Text source: source: Trad Silesian, LG752, 3:25, Copyright Tune source: AMH: Carolina, Text source: C. Trad USA, LG969, 2:39 date 1953 Westley, LG51311, 2:52 Death of General Washington, The (French) First Nowell, The, Choral Arr, 1957, Tune Cherry Tree Carol, The, Choral Arr, 1952, Choral Ed, 1955, Tune source: French, Text source: Trad English, Text source: Trad English, SATB(T), Tune source: Trad USA, Text source: source, unknown, LG554 LG714, 2:20 Trad USA, G. Schirmer HL50304950, 4:14 Death of Nathan Hale, (Anonymous) The, Flow Gently, Sweet Afton, Choral Arr, 1956, Chester (Billings) Choral Ed, 1955, Tune Choral Ed, 1955, Tune source: unknown, Text SATB(T), Tune source: Trad Scottish, Text source: Billings, Text source: Unknown, source: unknown, LG586—permanently out source: Burns, LG648, 3:07 LG501 of print Fum, Fum, Fum, Choral Arr, 1953, SATB/orch Christ the Lord Hath Risen, Choral Arr, 1951, Death Shall Not Destroy, Choral Arr, 1960, and org, Tune source: Catalonian, Text source: Tune source: Christ ist erstanden, Text Tune source: AMH: Mount Watson, Text tr AP, G. Schirmer HL50305040, 2:10 source: Trad chant, G. Schirmer 9945 source: Mountain hymn, LG920, 3:00 Fum, Fum, Fum, Choral Arr, 1966, SAB, Tune Christ the Lord Is Risen Today, Choral Arr, Deck the Halls, Choral Arr, 1957, Tune source: source: Catalonian, Text source: Catalonian, 1951, Tune source: Hymn 1708, Text source: Trad Welsh, Text source: Trad Welsh, LG720, G. Schirmer 11210 C. Wesley, G. Schirmer 9951 1:06 Garden Hymn, Choral Arr, 1960, SATB(T), Christ Was Born on Christmas Day, Choral Deep River, Choral Arr, 1959, Tune source: Tune source: AMH: Garden Hymn, Text Arr, 1951, SATB(SB), Tune source: Trad Ger- Spiritual, Text source: Spiritual, LG813, 3:06 source: Mountain hymn, LG912, 3:30 man, Text source: Trad German, G. Schirmer HL50305030, 2:09, Copyright date 1952 Dere’s No Hidin’ Place, Choral Arr, 1962, Gentle Annie, Choral Arr, 1959, TTBB/pno, SATB(T), Tune source: Spiritual, Text source: Tune source: S. Foster, Text source: Foster, Come and Taste, Choral Arr, 1966, tune Spiritual, LG51110, 1:23 LG859, 2:40, Copyright date 1960 source: AMH: Farabee, Text source: Leland, LG51342, 2:10, Copyright date 1967 Die Lorelei, Choral Arr, 1960, TTBB, Tune Gentle Lena Clare, Choral Arr, 1959, TTBB(T), source: Silcher, Text source: Heine, LG51045, Tune source: S. Foster, Text source: Foster, Come Away to the Skies, Choral Arr, 1966, 3:51 LG832, 2:30, Copyright date 1960 Tune source: AMH: Exaltation, text source: Mountain hymn, LG51334, 2:45, Copyright Dolcy Jones, Choral Arr, 1959, TTBB(B)/pno, Gently, Johnny My Jingalo, Choral Arr, 1956, date 1967 Tune source: S. Foster, Text source: Foster, Tune source: Trad English, Text source: Trad LG860, 1:50, Copyright date 1960 English, LG643, 2:30 Come Where My Love Lies Dreaming, Choral Arr, 1959, SATB(S), Tune source: S. Foster, Down by the Sally Gardens, Choral Arr, 1960, Girl I Left Behind Me, The, Choral Arr, 1967, Text source: Foster, LG812, 4:10 TTBB, Tune source: Trad Irish, Text source: Tune source: Trad Irish, Text source, Trad Irish, Yeats, LG51019, 2:45 LG51460, 1:25, Copyright date 1969 Come, Lovely Spring (Haydn, from The Sea- sons) Choral Ed, 1978, Tune source: Haydn, Drink to Me Only with Thine Eyes, Choral Arr, Glorious Things of Thee Are Spoken, Choral Text source: tr AP, T. Pyle, LG52078 1954, TTBB, Tune source: Trad English, Text Arr, 1958, SATB/org, Tune source: Haydn: source: Jonson, LG530, 2:54 Austrian Hymn, Text source: Newton, LG756, Come, Ye that Love the Lord, Choral Arr, 1966, 2:35—Available in Alfred collection of tune source: AMH: Albion, Text source: Watts, Drummer and the Cook, The, Choral Arr, 1961, Hymns and Carols LG51097—permanently LG51309, 1:00, Copyright date 1967 TTBB(B)/pno, Tune source: English shanty, out of print as an individual octavo Text source: English, shanty, LG51057, 3:05 Comin’ Thro the Rye, Choral Arr, 1956, Go Down Moses, Choral Arr, 1962, SATB(B), TTBB(S), Tune source: Trad Scottish, Text Du, du liegst mir im Herzen, Choral Arr, Tune source: Spiritual, Text source: Spiritual, source: Burns, LG655, 1:40 1960, TTBB, Tune source: Trad German, Text LG51115, 4:19, Copyright date 1963 source: Trad German, LG51043, 2:27 – per- manently out of print
CHORAL JOURNAL Volume 52 Number 11 39 The Choral Arrangements of
God Is Seen, Choral Arr, 1967, SATBB, Tune Here ‘Mid the Ass and Oxen, Choral Arr, I Want to Die Easy, Choral Arr, 1962, SATB(T), source: AMH: Captain Kidd, Text source: 1951, SATB(S), Tune source: Trad French, Text Tune source: Spiritual, Text source: Spiritual, Mountain hymn, LG51333, 2:25 source: tr AP, G. Schirmer HL50305080, 2:35, LG51114, 3:02, Copyright date 1963 Copyright date 1952 God Rest You Merry, Gentlemen, Choral Arr, I Will Arise, Choral Arr, 1960, Tune source: 1957, Tune source: Trad English, Text source: Hilariter, Choral Arr, 1951, Tune source: AMH: Restoration, Text source: R. Robinson, Trad English, LG729, 1:14 Hymn 1623, Text source: G.R. Woodward, LG905, 1:15 G. Schirmer 9952 Good Christian Men, Rejoice, Choral Arr, 1951, I’m Goin’ to Sing, Choral Arr, 1963, Tune Tune source: Trad English, Text source: Trad His Voice as the Sound, Choral Arr, 1960, source: Spiritual, Text source: Spiritual, English, G. Schirmer HL50305050, Copyright Tune source: AMH: Samanthra, Text source: LG51101, 1:18, Copyright date 1963 date 1952 Mountain hymn, LG915, 2:00 It Came upon the Midnight Clear, Choral Arr, Good King Wenceslas, Choral Arr, 1951, Holly and the Ivy, The, Choral Arr, 1951, Tune 1957, Tune source: R.S. Willis, Text source: SATB(SB), Tune source: Trad English, Text source: Trad English, Text source: Trad English, E.M. Sears, LG717, 2:28—permanently out source: Neale, G. Schirmer HL50305060, G. Schirmer HL50305090, 2:36, Copyright of print Copyright date 1952 date 1952 John Saw Duh Numbuh, Choral Arr, 1962, Good Morning, Brother Pilgrim, Choral Arr, How Far Is It to Bethlehem, Choral Arr, 1951, Tune source: Spiritual, Text source: Spiritual, 1967, Tune source: AMH: Salutation, Text Tune source: Trad English, Text source: F. LG51109, 2:12 source: Mountain hymn, LG51330, 2:04 Chesterton, formerly G. Schirmer 51017, now LG51017, 1:54, Copyright date 1954 Johnny Has Gone for a Soldier, Choral Arr, Good-bye, Fare Ye Well, Choral Arr, 1961, 1956, SATB(S), Tune source: Trad USA, Text TTBB/pno, Tune source: English shanty, Text How Firm a Foundation, Choral Arr, 1967, source: Trad USA, LG502 source: English shanty, LG51050, 3:05 Tune source: AMH: Foundation, Text source: Mountain hymn/K, LG51324, 6:00 Johnny, I Hardly Knew Ye, Choral Arr, 1967, Green Grow the Rushes, O, Choral Arr, 1960, SATBB, Tune source: Trad Irish, Text source: TTBB(B), Tune source: Trad Scottish, Text How unto Bethlehem, Choral Arr, 1951, Trad Irish, LG51452, 3:15, Copyright date source: Burns, LG51022, 3:11 Tune source: Trad Italian, Text source: Shaw, 1969 G. Schirmer HL50304940, 1:12, Copyright Hacia Belen, Choral Arr, 1951, SATB(Bar), date 1953 Joy to the World, Choral Arr, 1957, Tune Tune source: Trad Spanish, Text source: Trad source: Handel/Mason, Text source: Watts, Spanish, G. Schirmer HL50305070, 2:13, I Dream of Jeanie, Choral Arr, 1956, Tune LG712, 1:20 Copyright date 1952 source: S. Foster, Text source: Foster, LG652, 3:00—permanently out of print Juanita, Choral Arr, 1954, TTBB, Tune source: Hark, I Hear the Harps Eternal, Choral Arr, Trad Spanish, Text source: Horton, LG534, 1965, SATB(S), Tune source: AMH: Invitation, I Got a Key, Choral Arr, 1962, SATB(T), 2:40—permanently out of print Text source: Mountain hymn, LG51331, 2:08, Tune source: Spiritual, Text source: Spiritual, L’Amour de Moy, Choral Arr, 1960, TTBB(T), Copyright date 1967 LG51105, 2:17, Copyright date 1963 Tune source: Trad French 15th cent, Text Hark, the Herald Angels Sing, Choral Arr, 1957, I Got Shoes, Choral Arr, 1962, Tune source: source: Trad French 15th cent, LG51044, 4:36 Tune source: Mendelssohn, Text source: C. Spiritual, Text source: Spiritual, LG51116, La Tarara, Choral Arr, 1960, TTBB, Tune Wesley, LG728 2:21, Copyright date 1963 source: Trad, Text source: Trad Spanish, LG Has Sorrow Thy Young Days Shaded, Choral I Know My Love, Choral Arr, 1956, Tune 51046, 2:04 Arr, 1967, Tune source: Trad Irish, Text source: source: Trad Irish, Text source: Trad Irish, La Virgen Lava Panales, Choral Arr, 1951, Moore, LG51449, 4:00, Copyright date 1969 LG657, 1:59—permanently out of print SATB(A), Tune source: Trad Spanish, Haul Away, Joe, Choral Arr, 1961, TTBB(B), I Know Where I’m Goin’, Choral Arr, 1967, Text source: Trad Spanish, G. Schirmer Tune source: English shanty, Text source: Tune source: Trad Irish, Text source: Trad Irish, HL50305200, 1:57, Copyright date 1952 English shanty, LG51058, 1:49 LG51444, 2:41, Copyright date 1969 Laura Lee, Choral Arr, 1959, TTBB(T), Tune He’s Gone Away, Choral Arr, 1956, SATB(S), I Saw Three Ships, Choral Arr, 1951, Tune source: S. Foster, Text source: Foster, LG874, Tune source: Trad USA, Text source: Trad source: Trad English, Text source: Trad English, 2:55, Copyright date 1960—permanently USA, LG672, 3:40 G. Schirmer HL50305100, 1:20, Copyright out of print Hebrew Children, The, Choral Arr, 1967, Tune date 1952 Lay Down Your Staffs, Choral Arr, 1951, Tune source: AMH: The Hebrew Children, Text source: Trad French, Text source: Trad French, source: Mountain hymn, LG51323, 2:05
40 CHORAL JOURNAL Volume 52 Number 11 Alice Parker and Robert Shaw
G. Schirmer HL50305110, Copyright date Mighty Fortress, A, Choral Arr, 1958, SATB/ O Come, O Come, Emmanuel, Choral Arr, 1952 org, Tune source: Luther, Ein feste Burg, Text 1957, Tune source: Trad chant, Veni Em- source: Luther, tr Hedge, LG770, 3:35— manuel, Text source: Trad chant, LG727, 2:48 Lo, How a Rose E’er Blooming (Praetorius) Available in Alfred collection of Hymns and Choral Ed, 1958, Tune source: Praetorius, Carols LG51097—permanently out of print O Happy Souls, Choral Arr, 1967, Tune source, Text source: Trad German, 16th cent, LG730, AMH: Happy Souls, Text source: Mountain 2:21 Minstrel Boy, The, Choral Arr, 1967, SATB/ hymn, LG51310, 1:34 hp or pno, Tune source: The Moreen, Text Loch Lomond, Choral Arr, 1960, TTBB, Tune source: Moore, LG51411, 2:48, Copyright O Little Town of Bethlehem, Choral Arr, 1957, source: Trad Scottish, Text source: Lady Jane date 1968 Tune source: Redner, Text source: Brooks, Scott, LG51023, 2:21 LG739, 1:55 Morning Trumpet, Choral Arr, 1960, SATB(Bar), Lord Christ, When First Thou Cam’st to Men, Tune source: AMH: Morning Trumpet, Text O Magnum Mysterium (Victoria) Choral Ed, Choral Arr, 1951, Tune source: trad, Mit source: Leland, LG906, 2:20 1952, Tune source: Victoria, Text source: Trad, Freuden zart, Text source: Bowie, G. Schirmer G. Schirmer 10193, 3:29 9957 My Bonnie, Choral Arr, 1960, TTBB, Tune source: Trad USA, Text source: Trad USA, O Sanctissima, Choral Arr, 1951, Tune source: Lord, What Is Man, Choral Arr, 1966, Tune LG968, 2:14 Trad, Text source: Trad, G. Schirmer 10194 source: AMH: Dublin, Text source: Mountain hymn, LG51321, 2:04, Copyright date 1967 My Dancing Day, Choral Arr, 1957, Tune O Sons and Daughters, Choral Arr, 1951, th source: Trad English, Text source: Trad English, Tune source: French 15 cent, Text source: Lorena, Choral Arr, 1954, TTBB, Tune source: LG731, 2:35 Tisseraud, tr Neale, G. Schirmer 9950 Webster, Text source: Webster, LG536, 2:30 —permanently out of print My Gentle Harp, Choral Arr, 1967, SATB/hp O Tannenbaum, Choral Arr, 1951, TTBB(T), or pno, Tune source: Londonderry Air, Text Tune source: Trad German, Text source: Love Is Come Again, Choral Arr, 1951, Tune source: Moore, LG51409, 3:20, Copyright Trad German, tr AP, G. Schirmer 10195, 2:17, source: French carol, Text source: S.M.C. date 1968 Copyright date 1952 Cream, G. Schirmer HL50304080, 1:15 My God Is a Rock, Choral Arr, 1962, SATB(B), O Thou in Whose Presence, Choral Arr, 1960, Love’s Old Sweet Song, Choral Arr (w/ Shaw Tune source: Spiritual, Text source: Spiritual, Tune source: AMH: Davis, Text source: Moun- and Robert Hunter), 1954, TTBB(T), Tune LG51107, 4:52 tain hymn, LG917, 2:40 source: Mosley, Text source: Binham, LG537, 3:45—permanently out of print My Old Kentucky Home, Choral Arr, 1959, O Worship the King, not published Tune source: S. Foster, Text source: Foster, Oh! Susanna, Choral Arr, 1959, Tune source: Lowlands, Choral Arr, 1961, TTBB(B), Tune LG851, 3:50, Copyright date 1960 source: U. S. shanty, Text source: U. S. shanty, S. Foster, Text source: Foster, LG854, 1:35, LG51059, 4:45 My Soul’s Been Anchored, Choral Arr, 1962, Copyright date 1960 SATB(T), Tune source: Spiritual, Text source: Old Black Joe, Choral Arr, 1959, Tune source: March of the Kings, Choral Arr, 1951, TTBB, Spiriutal, LG51111,2:14 Tune source: Trad French, Text source: Trad S. Foster, Text source: Foster, LG852, 2:30, French, G. Schirmer HL50305120, 1:19, Nellie Bly, Choral Arr, 1959, SATB/pno, Tune Copyright date 1960—permanently out Copyright date 1952 source: S. Foster, Text source: Foster, LG861, of print 2:40 Marianina, Choral Arr, 1960, TTBB(TT), Tune Old England Forty Years Ago, Choral Arr, 1955, source: Trad Italian, Text source: Trad Italian, Nobody Knows, Choral Arr, 1962, SATB(A), Tune source: Trad, Text source: Trad, LG503 LG974, 2:29—permanently out of print Tune source: Spiritual, Text source: Spiritual, Old Folks at Home, Choral Arr, 1959, Tune LG51108, 4:18 Mary Had a Baby, Choral Arr, 1952, TTBB(T), source: S. Foster, Text source: Foster, LG847, Tune source: Spiritual, Text source: Spiritual, Now April Has Come, Choral Arr, 1951, Tune 4:30, Copyright date 1960 G. Schirmer HL50305130, 2:24 source: Welsh carol, Text source: G. Deamer, On Easter Morn, at Break of Day, Choral Arr, G. Schirmer 9955 Mass in G (Schubert) Choral Ed, 1954, SATB/ 1951, Tune source: Trad Scottish, Text source: kybd, Tune source: Schubert, Text source: Now Thank We All Our God, Choral Arr, Greek, tr G.R. Woodward, G. Schirmer Trad, G. Schirmer HL50324620, 21:28 1958, SATB/org, Tune source: J. Crüger, Nun HL50304070 danket, Text source: Rinkart, tr Winkworth, Parting Glass, The, Choral Arr, 1969, TTBB, Masters in This Hall, Choral Arr, 1951, SATB) LG753, 3:30 SB), Tune source: Trad French, Text source: Tune source: Trad Irish, Text source: Trad Irish, Morris, G. Schirmer 10192, Copyright date O Come, All Ye Faithful, Choral Arr, 1957, Tune LG51440, 2:15 1952 source: Wade 1740, Text source: Wade 1740, LG716, 2:14 CHORAL JOURNAL Volume 52 Number 11 41 The Choral Arrangements of
Passing By, Choral Arr, 1960, TTBB, Tune Shaver, The, Choral Arr, 1961, TTBB(B)/pno, Steal Away, Choral Arr, Tune source: Spiritual, source: Purcell, Text source: Trad English, Tune source: English shanty, Text source: Text source: Spiritual, LG51104, 4:10 LG967, 2: 17—permanently out of print English shanty, LG51061, 2:04—permanently Stodole Pumpa (Walking at Night), Choral out of print Pensive Dove, Choral Arr, 1960, Tune source: Arr, 1960, TTBB(B), Tune source: Trad Czech, AMH: Pensive Dove, Text source: Mountain Shenandoah, Choral Arr, 1961, TTBB(T)/ Text source: Trad Czech, LG51049, 2:51 hymn, LG916, 3:05—Available in Alfred col- pno, Tune source: US shanty, Text source: US Storm Along John, Choral Arr, 1961, TTBB(B), lection of Hymns and Carols LG51097—per- shanty, LG51062, 4:37 Tune source: English shanty, Text source: manently out of print as an individual octavo Shout On, Choral Arr, 1967, SATB(B), Tune English shanty, LG51063, 2:23 Poor Mourner, Choral Arr, 1962, SATB(T), source: AMH: Immortality, Text source: Strife Is O’er, The, Choral Arr, 1951, Tune Tune source: Spiritual, Text source: Spiritual, Mountain hymn, LG51332, 2:04 source: Palestrina, Victory, Text source: tr F. LG51102, 4:30 Silent Night, Choral Arr, 1957, Tune source: Pott, G. Schirmer 9943, 1:15 Psalm 4. God of My Justice, Choral Arr, 1955, Franz Grüber, Text source: S. Mohr, LG715, Susanni, Choral Arr, 1951, Tune source: Tune source: Ainsworth Psalter, Text source: 3:14 Trad German, Text source: Trad German, G. Ainsworth Psalter, LG584, 1:40—Available Schirmer HL50304930, Copyright date 1952 in Alfred collection of Hymns and Carols Silent, O Moyle, Choral Arr, 1967, SATTBB(M), Tune source: Trad Irish, Text source: Moore, LG51097—permanently out of print as an Swansea Town, Choral Arr, 1961, TTBB, Tune LG51442, 3:23, Copyright date, 1969 individual octavo source: English shanty, Text source: English shanty, LG51052, 2:55 Psalm 81. To God Our Strength, Choral Arr, Sing to the Lord, Choral Arr, 1967, Tune source: AMH: Dunlap’s Creek, Text source: 1955, Tune source: Ainsworth Psalter, Text Swing Low, Sweet Chariot, Choral Arr, 1961, Watts, LG51322, 1:55 source: Ainsworth Psalter, LG585, 1:30— Tune source: Spiritual, Text source: Spiritual, permanently out of print Sing, Sing, Choral Arr, 1967, SATB/hp or pno, LG984, 3:33 Tune source: Trad Irish, Text source: Moore, Psalm 124, Choral Arr, 1955, Tune source: Teach Me the Measure, Choral Arr, 1966, LG51345, 2:50, Copyright date 1968 Ainsworth Psalter, Text source: Ainsworth Tune source: AMH: Suffi eld, Text source: Psalter, LG583 So Blest a Sight, Choral Arr, 1951, SATB(S), Watts/Mountain hymn, LG51308, 3:22, Tune source: Trad English, Text source: Trad Copyright date 1967 Red, Red Rose, A, Choral Arr, 1956, SATB(T), English 1536, G. Schirmer 10169, Copyright That Lonesome Valley, Choral Arr, 1962, Tune source: Trad Scottish, Text source: date 1952 Burns, LG645, 3:25 SATB(B), Tune source: Spiritual, Text source: Soldier Boy, The, Choral Arr, 1956, SATB(A), Spiritual, LG51103, 4:22—permanently out Ride On, King Jesus, Choral Arr, Tune source: Tune source: Song of Confederacy, Text of print Spiritual, Text source: Spiritual, LG51106, 2:45 source: Anon Song of Confederacy, LG552 The Creation (Haydn) Translation, 1957, Ring de Banjo, Choral Arr, 1959, TTBB/pno, Some Folks, Choral Arr, 1959, SATB/pno, Tune source: Haydn, Text source: Bible/von Tune source: S. Foster, Text source: Foster, Tune source: S. Foster, Text source: Foster, Swieten, LG51595 LG864, 2:10, Copyright date 1960 LG863, 1:50 The Heavens are Telling (Haydn, from The Saints Bound for Heaven, Choral Arr, 1960, Sometimes I Feel, Choral Arr, 1963, SATB(A), Creation) Translation, 1957-8, Tune source: Tune source: AMH: Saints Bound for Heaven, Tune source: Spiritual, Text source: Spiritual, Haydn, Text source: Bible/von Swieten, Text source: Mountain hymn, LG911, 1:45 LG51112, 5:16 LG51147
Salem, Choral Arr, 1951, Tune source: AMH: Spanish Ladies, Choral Arr, 1961, TTBB(B), This Joyful Eastertide, Choral Arr, 1951, Tune Salem, Text source: Watts, G. Schirmer 9947 Tune source: English shanty, Text source: source: Vreuchten 1623, Text source: Trad English shanty, LG51051, 2:34 Dutch, G. Schirmer HL50303920 Same Train, Choral Arr, 1962, Tune source: Spiritual, Text source: Spiritual, LG51113, 2:22 Ständchen (Serenade)(Schubert) Choral Arr, Thou Art the Queen of My Song, Choral Arr, 1954, TTBB(M)/pno, Tune source: Schubert, 1959, SATB(B), Tune source, S. Foster, Text Santy Anna, Choral Arr, 1961, TTBB, Tune Text source: Grillparzer, tr AP, LG521, 5:52 source: Foster, LG811, 3:40, Copyright date source: US shanty, Text source: US shanty, 1960 LG51060, 2:01—permanently out of print Stars of the Summer Night, Choral Arr, 1954, TTBB, Tune source: Woodbury, Text source: ‘Tis Finished, Choral Arr, 1951, Tune source: Seeing Nellie Home, Choral Arr, 1954, TTBB, Longfellow, LG539, 2:38 AMH: Munich, Text source: Stennet, G. Tune source: Fletcher, Text source: Kyle, Schirmer HL50303940, 2:00 LG538, 2:05
42 CHORAL JOURNAL Volume 52 Number 11 Alice Parker and Robert Shaw
Tis Pretty to Be in Balinderry, Choral Arr, 1967, What Child Is This, Choral Arr, 1951, Tune Widerspruch (Contradiction) (Schubert) Tune source: Trad Irish, Text source: Trad Irish, source: Greensleeves, Text source: W.C. Dix, Choral Ed, AP translation, 1964, TTBB/pno, LG51441, 1:53, Copyright date 1969 G. Schirmer HL50305210, 2:27, Copyright Tune source: Schubert, Text source: Schiller, date 1952 LG513, 2:33 To Ladies’ Eyes, Choral Arr, 1967, TTBB/TTBB, Tune source: Trad Irish, Text source: Moore, What Shall We Do with the Drunken Sailor? Wondrous Love, Choral Arr, 1960, Tune LG51458, 1:46, Copyright date 1969 Choral Arr, 1961, TTBB, Tune source: English source: AMH: Wondrous Love, Text source: shanty, Text source: English shanty, LG51053, Mountain hymn, LG907, 3:25 Tom’s Gone to Hilo, Choral Arr, 1961, 2:48 TTBB(B), Tune source: English shanty, Text World Itself Keeps Easter Day, The, Choral source: English shanty, LG51064, 2:45—per- When I Can Read My Title Clear, Choral Arr, Arr, 1951, Tune source: Piae Cantiones, Text manently out of print 1967, Tune source: AMH: Pisgah, Text source: source: Neale, G. Schirmer 9942 Watts, LG51340, 1:47 Touro-louro-louro, Choral Arr, 1951, Tune Worthy the Lamb, Choral Arr, Tune source: source: Saboly, Text source: tr W. Norman, When Jesus Wept, Choral Arr, 1960, Tune AMH: Worthy the Lamb, Text source: Moun- G. Schirmer HL50304920, 2:05, Copyright source: Billings, Text source: Trad USA, LG913, tain hymn, LG914, 1:45 date 1952 2:15 Ya Viene La Vieja, Choral Arr, 1952, Tune Treue Liebe, Choral Arr, 1956, TTBB, Tune When Love Is Kind, Choral Arr, 1956, SATB(B), source: Trad Spanish, Text source: Trad Span- source: Trad German, Text source: Trad Ger- Tune source: Trad English, Text source: Trad ish, G. Schirmer HL50305220, 0:43 man, LG669, 2:09—permanently out of print English, LG646, 1:41 Yellow Rose of Texas, The, Choral Arr, 1955, Turn Ye to Me, Choral Arr, 1960, TTBB(T), When You and I Were Young, Maggie, choral SATB/kbd, Tune source: Trad, Text source: Tune source: Trad Scottish, Text source: Trad Arr, 1954, TTBB(B), Tune source: Butterfi eld, Trad, LG587 Scottish, LG975, 3:37, Copyright date 1961 Text source: Johnson, LG542, 3:15, Copyright Zion’s Soldier, Choral Arr, Tune source: AMH: date 1955 Twelve Days of Christmas, The, Choral Arr, Zion’s Soldier, Text source: Mountain hymn, 1951, SATB + 3 solo quartets, Tune source: Whup Jamboree, Choral Arr, 1961, TTBB, LG908, 2:15 Trad English, Text source: Trad English, G. Tune source: Trad shanty, Text source: Trad Schirmer 10197, 4:15, Copyright date 1952 shanty, LG51065, 1:49 Vive L’Amour, Choral Arr, 1960, TTBB(B), Tune source: Trad USA, Text source: Trad USA, LG51026, 2:00 Wassail Song, Choral Arr, 1957, Tune source: Trad English, Text source: Trad English, LG740, 1:10 Way Down in Cairo, Choral Arr, 1959, TTBB/ ACDAACDA StudentStudent ConductingConducting AwardAward pno, Tune source: S. Foster, Text source: Foster, LG862, 2:50, Copyright date 1960— permanently out of print You can now download We May Roam Thro’ this World, Choral Arr, 1969, Tune source: Trad Irish, Text source: forms and guidelines Moore, LG51459, 1:58 for the We Three Kings, Choral Arr, 1957, Tune ACDA Student source: J. Hopkins, Text source: Hopkins, LG738, 3:40—permanently out of print Conducting Award Wearing o’ the Green, Choral Arr, 1967, Tune on the ACDA Web site. source: Trad Irish, Text source: Trad Irish, LG51451, 1:23, Copyright date 1969
Were You There, Choral Arr, 1962, SATB(S), Tune source: Spiritual, Text source: Spiritual, LG51249, Copyright date 1965
CHORAL JOURNAL Volume 52 Number 11 43 HIGH SCHOOL MIXED HONOR CHOIR CONDUCTOR
Edith A. Copley is a Regents’ professor and director of choral studies at Northern Arizona University, where she conducts Shrine of the Ages Choir and teaches undergraduate and graduate courses in conducting and choral literature. Copley is a past-president of the ACDA Western Division, and has served as AZ-ACDA President, and Interest Session Chair for the 2011 ACDA National Conference in Chicago. She has received numerous honors, including NAU Centennial Teacher of the Year Award in 1999, Arizona Music Educator of the Year in 2004, and the Arizona ACDA Outstanding Choral Director Award in 2007. Copley is in high demand as a conductor/clinician in the United States and has conducted honor choirs in Germany, the Netherlands, Tasmania, Japan, Luxembourg, Australia, China, and Turkey.
COMMUNITY YOUTH/BOYCHOIR HONOR CHOIR CONDUCTOR
James Litton has conducted choral and orchestral worksin fi ve continents, and regularly leads workshops and seminars in the United States and abroad. During past seasons, he has conducted the Berkshire Choral Festival, at the Tanglewood Music Festival, and at music festivals in Canada, in Prague, Guatemala, Denmark, Germany, Latvia, France, Poland, South Korea, Taiwan, Japan and South Africa. Litton is the founder of a number of choral ensembles, including community choruses, college, church and school choirs in West Virginia, Connecticut, Indiana, New York, and New Jersey. He has conducted choral groups, chamber music ensembles, and orchestras in 40 recordings, including many American Boychoir CDs. His most recent recordings include Sing in Exultation, a CD of music for the Advent and Christmas seasons with the Choirs of Washington National Cathedral, and Sound from Heaven with soprano, Anna Maria Friman and the Girl Choristers of the cathedral. An avid writer for professional journals, with fi fty articles to his credit, Litton has also edited several books and collections of liturgical music.
44 CHORAL JOURNAL Volume 52 Number 11 AmyAmy Blosser, Blosser, Editor Editor [email protected] [email protected]
for the fi rst time at the March 1981 ACDA grew in number and quality throughout the Children & Community National Conference in New Orleans, long country. Young choirs began touring nation- term goals and objectives were prepared ally and internationally, and an increase of Youth Choirs and approved by the national leadership recorded performances generated on re- Robyn Lana, of ACDA. cords and cassette tapes became available. National R&S Chair Strategic efforts to collaborate with the: Mu-
CHORAL JOURNAL Volume 52 Number 4 45 wide range of topics related to young choirs. and a record thirteen auditioned children’s organized by Barbara Tagg to participate in choirs performed throughout the seven the historic “World Children’s Honor Choir” divisions. Interest sessions, reading sessions, as the fi nale for the International Society for 1988–1995 Barbara Tagg, and breakfast roundtables increased in fre- Music Education World Conference held in National Chair quency: Division presidents at this juncture Tampa, FL. Under the baton of Doreen Rao, During 1988–1989, a record forty-four included the division children’s choir chairs the ACDA choristers joined singers from ACDA Children’s Choir State Chairs were in conference planning. Attendance numbers England, Canada, Mexico, and Finland. identifi ed and appointed, and ACDA Na- continued to grow and conference spaces Barbara Tagg proposed the fi rst formal tional Children’s Choir Committee Guide- were frequently insuffi cient to accommodate ACDA research and poster session at the lines for State Chairs were created under those who wished to attend children’s choir 1995 National Conference in Washington, Barbara Tagg’s leadership. The fi rst National sessions. D.C. Juried research on the topic of chil- Directory of Children’s Choirs in America The 1993 ACDA National Conference dren’s choirs was presented by Lori-Anne was released in 1991 and updated in 1995. in San Antonio marked the 10th anniver- Dolloff and Susan Wyatt. The 1995 national By 1989, twenty percent of the membership sary of children’s honor choirs. Directed by children’s honor choir conducted by Janet of ACDA indicated an interest in children’s Doreen Rao, the 103-voice choir included Galván was selected from a record 600 choirs. young singers from across the continental auditioned applicants from which 200 were By 1990, the vigorous work of the Na- United States, Alaska, Hawaii, and Canada. chosen. The balanced ensemble was formed tional Committee resulted in the featured The concert program included contempo- by an equal number of school and com- appearances of an historic twelve auditioned rary American and Canadian choral music munity choristers. Historically, this culturally children’s choirs and two honor children’s accompanied by members of the San An- diverse and musically inclusive ACDA honor choirs at division conferences across the tonio Symphony Orchestra. The same 1993 choir successfully represented an equal op- nation. Children’s chorus workshops, reading conference hosted Jitro, the Czech children’s portunity for school, community, and church sessions, and concerts continued to increase choir that received one of the longest stand- choir programs. at the grass root levels. ing ovations in the history of ACDA. The fi rst sixteen years of the ACDA In the same year, as an outgrowth of In another historic fi rst, Joan Gregoryk’s National Committee on Children’s Choirs national and local emphasis on repertoire Chevy Chase Elementary School Chorus were marked by a committed group of standards, an international consortium of from Washington D.C., performed Carmina passionate professionals dedicated to art- distinguished children’s choirs fi rst appeared Burana with the National Symphony Or- istry for every child. What we know today at Carnegie Hall, conducted by Doreen Rao. chestra as part of the 1995 ACDA National as the “children’s choir movement” began A concert program for young choirs and Conference. This was the fi rst time a public with the values of diversity and inclusion orchestra was performed by six American elementary school chorus performed with to ensure that all children have the op- choirs (Indianapolis Children’s Choir, Los a professional orchestra as part of an ACDA portunity to sing in choirs. Efforts at the Angeles Children’s Choir, St. Louis Children’s conference. national, division, and state levels of ACDA Choir, Syracuse Children’s Chorus, North- The fi rst “focus” issue of the Choral Jour- have infl uenced the fabric of choral music in west Girlchoir, and Red River Boy Choir), nal (March 1993), guest edited by Barbara America. The legacy established by Doreen two Canadian choirs (including Amadeus Tagg and Linda Ferreira, was titled “Focus: Rao and Barbara Tagg (1979–1995) has 3 Children’s Choir and Winnipeg Mennonite Children’s Choirs/ACDA.” The focus theme been curated and continued by the deeply Children’s Choir) and a choir from Finland was maintained by Barbara Tagg for “Focus: committed National Chairs work of Debo- 4 (Vox Aurea). Repertoire and Standards” (March 1998), rah Mello (1995–1998), Rebecca Rottsolk Between 1988 and 1991, 2,000 new and “Focus: American Choral Music” (March (1998– 2004), Lynn Gackle (2004–2007), 5 children’s choir directors joined ACDA. In 2003). ACDA National President William and Robyn Lana (2007 to present). 1990, Choral Music for Children: An Annotated Hatcher stated, “Initially chaired by Doreen At the 1995 ACDA National Confer- List, co-authored and edited by Rao, was re- Rao and led, since 1988, by Barbara Tagg, ence, the National Committee on Children’s leased.2 This publication effort was the result it [the ACDA Repertoire and Standards Choirs wore and distributed buttons read- of a collaboration between MENC and the Committee on Children’s Chorus] clearly ing “Children’s Choirs …The Future.” The 6 ACDA National Committee on Children’s represents our fastest-growing area.” future of choral singing in America remains Choirs. The 1991 ACDA National Confer- By 1995, forty percent of the ACDA with our children. ACDA has a tremendous ence Breakfast Roundtable, moderated by membership indicated interest in children’s opportunity to continue to educate, inspire, Barbara Tagg, was devoted to the topic of choirs. State children’s choir chairs were and support quality choral repertoire and opera with children’s choirs. now appointed in forty-nine states plus choral education resources for professionals By 1992, with the strong advocacy of the the District of Columbia. During the sum- committed to children in schools, communi- National Committee, children’s honor choirs mer of 1995, members of the 1993 ACDA ties, and churches across the nation. As com- were sponsored in three ACDA divisions National Children’s Honor Choir were poser and conductor Gregg Smith stated,
46 CHORAL JOURNAL Volume 52 Number 11 “Great children’s choirs can come from net have publicized staged musical auditions represent themselves and their schools in an anywhere—all it takes is a great teacher. . . .7 for their commercial and entertainment audition, some guidance is necessary for the value. In contrast, most musical auditions student musician. Such guidance need not Thank you to Doreen Rao for her held at learning or performing institutions be an exorbitantly time-consuming prospect collaboration on important details. require a certain professional protocol, for busy teachers, but some attention to the regardless of musical genre. The narrative in matter can make the difference between a this column encourages musicians to engage student continuing in music or not. While NOTES in the college music audition process, but there is no substitute for examining a specifi c anyone preparing for any type of musical college/university’s Web site for audition or 1 Choral Journal 29, no. 8 (1989). audition will fi nd it pertinent as a tool to get participation guidelines, or calling individual 2 Music Educators National Conference, Choral beyond what is seen in mainstream media to music professors (an opportunity of which Music for Children: An Annotated List (Reston, what is actually expected. far to few high school teachers avail them- VA: Music Educators National Conference, High school graduates who enjoy music selves), the instructions appearing below in 1990). should consider performing a college music this document establish a coherent point of 3 Choral Journal 33, no. 8 (1993). audition. Whether one plans to major in departure and have a variety of purposes. 4 Choral Journal 38, no. 8 (1998). music, performing in a college’s music pro- First, they represent a “refresher course” 5 Choral Journal 43, no. 8 (2003). 6 gram complements other coursework as it for teachers who performed college music William Hatcher, “From the President: Onward and does in elementary, middle, and high school. Upward!” Choral Journal 33, no. 8 (1993): 3. 7 Countless high school and college teachers Barbara Tagg, “Án Interview with Gregg Smith,” are aware of students who give up music, Choral Journal 33, no. 8 (1993): 19. or pass up opportunities to begin musical training, as they begin their college years. If high school teachers, counselors, or relevant Request Your college/university personnel apply the pro- SeniorSenior HighHigh ChoirsChoirs tocols suggested in this column, many more FREE Daniel Bishop, young musicians can benefi t from collegiate CHORAL National R&S Chair musical involvement, thereby strengthening RESOURCE
CHORAL JOURNAL Volume 52 Number 11 47 auditions, but who have varying levels of Logistical Preparation to hear the tone of voice of those giving you instructions, especially if experience in preparing others for the ex- • Speak with someone who has attended they will be sitting in your audition, perience, including the solo and ensemble the college/university in question. so use e-mail and texting judiciously. experience. Second, they are fairly concise Read online about the faculty. Notice Faculty members are likely to be more yet thorough enough that a student can fol- important legacies or traditions at comfortable dealing with issues you low them when a teacher is unable to work that school. stepwise with them through the process. may have before an audition rather than during it. Third, they may help teachers and students • Research the specifi c degrees they offer. determine when one is ready to perform There are many types of majors/mi- an audition or when more preparation may nors or ways to be involved in music. Musicianship be necessary. Fourth, these guidelines will be (music education, vocal performance, useful in nearly any audition situation, from music technology, music business, theo- • Have all music memorized weeks before middle-school chorus to professional solo ry, composition, music therapy—there the audition if memorization is re- gigs. Fifth, they seek to instruct about dignity are also many options for non-music quired. High school students tend to and professionalism in the audition process, majors). A university “bulletin” is often think they can memorize songs in a no matter the musical genre. Finally, they the best place to learn the scope of week and it often comes back to haunt represent a call to high school and collegiate each degree or ensemble. them when nerves set in. instructors to maintain lines of communica- tion—collegiate Web sites should offer clear • Discuss the music and audition require- • Know titles and composers with correct information based upon the points advanced ments with your music teacher: How pronunciation. Practice introducing in this document, and high school teachers/ many songs do you need to have yourself and your piece(s). students should research a college/univer- prepared—Memorized? Are there sity’s expectations and follow them. Let no language requirements? Does the • Get help with the pronounciation of breakdown in communication stunt a young singer provide printed music for those foreign languages if they are required. musician’s growth. listening? Is there a pianist available? Avoid the naiveté associated with This author has been a university profes- mispronounced words. sor for ten years and has been a juror in • Have all paperwork done before the audi- thousands of vocal auditions. The following tion and carefully observe deadlines: • Perform appropriate repertoire. Many guidelines, offered to a future college student Apply to the university and to the mu- opera arias heard in collegiate audi- appear in seven categories, and are intended sic school/department (these are often tions were intended for much older to demystify the audition process in general separate applications). Fill out federal performers and will not show the and encourage further discussion between government fi nancial-aid forms online strengths of your instrument. Selecting students and teachers. (FAFSA), and have your SAT/ACT the right music to perform may be the scores and GPA information in print most important step in your prepa- and available. Fill out forms completely. ration. It is wise to obtain multiple Details in paperwork show a profes- opinions on this important matter. For sional nature and help the committee example, do not sing or play a musi- make a decision quickly. Acceptance cal theater piece at a classical music notifi cation and scholarship letters school, and vice versa. Choral Buzz may come separately depending on deadlines. Audition deadlines generally • Avoid distracting physical habits while you A ddailyaily educationaleducational outreachoutreach pass in January or February. perform, such as tapping toes, conduct- pprovidingroviding enrichment,enrichment, iinspirationnspiration ing with hands, or swaying when the musical phrase does not call for it. aand,nd, mmotivationotivation ffromrom AACDA'sCDA's • Make careful travel plans and prepare to be fl exible. Some schools hold audition vvastast mmediaedia hholdings.oldings. days where many students are being • Most auditions involve a sight-singing or VVisitisit CChoralBuzzhoralBuzz ddailyaily aatt accommodated at once. Arrive early scales/technique component. Be pre- and leave time to stay longer if neces- pared to the best of your ability and <
48 CHORAL JOURNAL Volume 52 Number 11 skills are very important no matter • It is usually okay to ask questions, but musical segments. Do your best to fol- what instrument you major/minor in. keep things moving and respect their low instructions. Thank the committee Piano skills may not be a “deal-breaker,” schedule. as you exit. but, if you are uncomfortable in this area, contact the faculty to discuss it • While you perform, there may be other ahead of time. things going on in the room. What Appearance the committee writes or talks about, • Men: It is best to wear at least a shirt and Nota Bene where they look or what papers they tie with nice slacks. Women: it is best • Recorded Auditions: Recorded auditions pass around should not alarm you. As to be in a dress. It is always better to (DVD, CD, Upload) are not the focus auditioners look at you, read papers, be over-dressed than under-dressed. of this document, but it is worthwhile interact one with another, your mind to mention that when a recorded should stay focused on your perfor- • Consider a hairdo that allows the commit- audition is necessary students should mance. tee to see your face and eyes as you follow the institution’s instructions to perform. Your hair should appear as the letter. Do not send a recorded • Those hearing your audition are usually though you spent some time on it for audition to an institution not expect- experienced enough to hear what they this occasion. Conversely, it is possible ing it. Contact them fi rst. Quality of need to hear very quickly. If they stop to overdo the hair and distract the recording and format compatibility are you mid-song do not worry. They may committee. crucially important. ask you to repeat or perform specifi c
Interacting with the Audition Committee • If you have cause to compliment the faculty, be sincere. Excited adulation of faculty members is not advised. If you have worked with them before, it may be worthwhile to briefl y bring it up.
• When talking to the committee, make eye contact.
• When singing, have a plan as to where you look (at the committee, over their heads, etc). The committee will be comfortable with wherever you look as long as you seem comfortable with yourself and it has something to do with the text and music you perform.
• Answer questions honestly. If you do not know an answer, simply tell them you do not know. Often, faculty members ask what you will major in. If you are still unsure, it is okay to discuss with them where you are in the narrowing process.
• In all things, speak with a voice that shows you are capable of handling a bit of pressure.
CHORAL JOURNAL Volume 52 Number 11 49 • Your clothes should be neat, clean, pressed, • If you get a rehearsal before the audition, you are in your decision-making pro- polished shoes, and show the commit- enjoy it. If you get no rehearsal, do cess. Answer as soon as possible so the tee that you respect the dignity of the not worry. You will have a competent schools can fi ll their slots. audition. You may have your own fash- accompanist who can do whatever ion, and sense great freedom therein, you need on site and who has pos- • When you go to college, be teachable. It but the committee is probably not sibly played your song many times. is possible that as a high school senior concerned about your stylistic liberty The committee will know whether you are a “big fi sh in a little pond.” just then—show them professional at- you have had a rehearsal and will be Accept the changes that come with tire according to respected traditions. forgiving if necessary. being the “freshman” again. Accept that you will not be the best in the • Wear clothing and shoes that allow you to building any more. If you were, how perform, breathe, and move comfort- If Things Go Awry would you learn? ably in the genre you are presenting. • Keep your composure. Keep your hands away from your face. You may feel • Accept that college faculty may not do • Be careful about where your attire draws fl ushed, but show them you can deal things exactly as you were accustomed the eye. Jewelry, cut of clothing, body with struggle. to in high school. Move forward and type and clothing fi t compatibility, work hard, learning from teachers colors, accessories—any of these may • The faculty can tell the difference between and upper ßclassmen. Prepare to be distract the committee. a memory slip (we all do it) and a situ- competitive, but also polite and profes- ation in which someone is ill-prepared. sional, listening as much as you speak, • Bring no items into the room with you be- In the case of a memory slip, keep go- or more so. sides necessary paperwork (no purse, ing if possible. If you end up stopping, books, water bottle, backpack, etc.). simply turn to your accompanist, and These can be distracting to both you either indicate where you will start, or Conclusion and the committee. Hydrate yourself ask them to help you pick a place. Ask No document could exhaustively pre- hours before the audition. for a word/text/measure number cue pare one for every eventuality, but those if needed. who consider the issues mentioned here • The committee will not applaud when can feel confi dent that their audition will you fi nish performing and you should • If you feel very nervous, keep your breath- follow a pattern used at countless colleges not bow. ing low—do not let shallow, frantic and universities. Teachers should try to be breathing exacerbate your situation. aware of where their students are audition- • Consider your carriage and posture from ing and, at the very least, provide them with the second you enter the room. Stand • In the skills/scales portion of the audition, this document. In this writer’s experience, at your full stature and consider an it is best to attempt everything they many students worry about preparing the elegant, professional posture and mo- give you. If you make mistakes, try not music but do little research on other aspects tion. Stand in or near the crook of the to panic. Often they want to see how of the audition. It is likely that presently a piano for most art songs and arias; for you work things out, how you handle higher percentage of individuals expect a col- genres requiring other blocking, make pressure, if you can fi nd your place, or lege education than in previous generations. sure you can still communicate with make decisions about where to restart. This author encourages as many of these the pianist. If you know you made a mistake, it is students as is feasible to be involved in music a good idea to let them know you continuously. That auditions may be required are aware of it, but do not apologize for such participation need not deter even Collaborative Pianist repeatedly. less-experienced musicians as long as certain • Have your music books or sheet music protocols are met and common ground is very organized, perhaps in a binder. found through communication between high Make sure all notes, staves, and mark- After the Audition schools and colleges/universities. ings are readable on printouts. • If you get accepted, stay in touch with the faculty until classes begin. If you are • Collaborate rather than give orders. Ask fortunate enough to be accepted at “Can we take this tempo?” or “Can we multiple schools, you may have to wait do it this way?” before making your fi nal decision. It is polite to let each school know where
50 CHORAL JOURNAL Volume 52 Number 11 MIDDLE SCHOOL/JUNIOR HIGH HONOR CHOIR CONDUCTOR
Since Anthony Trecek-King joined the Boston Children's Chorus (BCC) in 2007 as artistic director, the choir has earned a reputation as an ensemble of high musical excellence. As a conductor and clinician, Trecek-King has earned international acclaim conducting choirs and orchestras in Europe, the Middle East, and the Americas. He has worked with the National Youth Choirs in Great Britain and members of the Schola Cantorum de Venezuela, the Juvenil Schola Cantorum, and the University Simón Bolívar. He has led several orchestras, including the Omaha Symphony Orchestra, and he is active as a guest conductor and lecturer. At BCC, Trecek-King has established a music education curriculum that fosters independent thinking among young musicians. Students develop musical skills and receive leadership and life skills training. Before joining BCC, he was a professor of music at the University of Nebraska at Omaha and the artistic director of the Nebraska Choral Arts Society.
HIGH SCHOOL WOMEN'S HONOR CHOIR CONDUCTOR
Sigrid Johnson is an Artist in Residence on the voice and choral faculty at St. Olaf College in Northfi eld, Minnesota. She is also associate conductor for VocalEssence, a Minneapolis-based choral ensemble. During her 32- year tenure as conductor of Manitou Singers, the 100-voice chorus for fi rst-year women, Johnson has inspired 3,000 young women. As a guest clinician at choral workshops and all-state music festivals in 30 states, she has enriched and deepened the musical experience of countless singers of all ages across the country. Johnson was a member and associate conductor of the Dale Warland Singers and music director of the Dale Warland Symphonic Chorus. She was a presenter at the World Choral Symposium in Minneapolis in 2002, in Copenhagen, Denmark, in 2008, and in Puerto Madryn, Argentina in 2011. In 2006, Johnson received the F. Melius Christiansen Award for lifetime achievement from the American Choral Directors Association of Minnesota (ACDA-MN).
CHORAL JOURNAL Volume 52 Number 11 51 22013013 AACDACDA NationalNational HonorHonor ChoChoiirsrs Dallas, Texas March 13 - 16, 2013
Up to 300 singers will be selected by audition to participate in each choir. Singers may choose to audition for one choir from the following:
CommunityCommunity Youth/BoychoirYouth/Boychoir HonorHonor ChoirChoir (CYBC)(CYBC) Unchanged voices, SSAA, grades 4-8. Must be sponsored by an ACDA member to audition and participate.
MiddleMiddle SSchool/Juniorchool/Junior HighHigh HonorHonor ChoirChoir (MSJH)(MSJH) SATB, changing and changed voices, in grades 6-9. Must be sponsored by an ACDA member to audition and participate.
HighHigh SchoolSchool Women’sWomen’s HonorHonor ChoirChoir (HSWC)(HSWC) SSAA, grades 10-12. Must be sponsored by an ACDA member to audition and participate.
HighHigh SchoolSchool MixedMixed HonorHonor ChoirChoir (HSMC)(HSMC) SSAATTBB grades 10-12. Must be sponsored by an ACDA member to audition and participate.
Application Fee: $30 non-refundable application fee for each applicant. Paid by Debit or Credit Card submitted online through the secured server. No Purchase Orders or checks will be accepted.
OOnlinenline AuditionAudition ApplicationsApplications Overview:Overview:
• Online Audition format will be open from August 1 - midnight October 1, 2012. • Technical Assistance will be available during the period for applicants or sponsors needing assistance • Online Registration will include necessary information, statements of understanding for applicant and parent/chaperone, ACDA membership ID and information, character recommendation for applicant. • Return e-mail receipt of audition materials wwillill bebe sentsent toto thethe ACDAACDA sponsorsponsor and will include an aauditionudition nnumberumber for each applicant. After the closing date for auditions applicants may access the ACDA Web site for a listing of accepted audition numbers indicating their status. Only those accepted into the choirs will have their number listed. Choirs will be listed by the initials indicated above. • Recorded audition will be submitted online in an Mp3 format ( instructional video and recording tips will be available at
IInformationnformation andand DirectionsDirections Audition and Application Submissions available at
1) Visit
52 CHORAL JOURNAL Volume 52 Number 11 22013013 AACDACDA NationalNational HonorHonor ChoChoiirsrs Dallas, Texas March 13 - 16, 2013
Online Audition Information Required You will be asked for the following information during the online registration:
For the Applicant:
Select the choir for which the singer is auditioning: ____ ((CYBC)CYBC) CommunityCommunity Youth/BoychoirYouth/Boychoir HonorHonor ChoirChoir Unchanged, SSAA, grades 4-8. ____ ((MSJH)MSJH) MiddleMiddle School/JuniorSchool/Junior HighHigh HonorHonor ChoirChoir SATB, changing and changed voices, grades 6-9. ____ ((HSWC)HSWC) HighHigh SchoolSchool Women’sWomen’s HonorHonor ChoirChoir SSAA Grades 10-12. ____ ((HSMC)HSMC) HighHigh SchoolSchool MixedMixed HonorHonor ChoirChoir SSAATTBB Grades 10-12.
• Name and the age the singer/applicant will be on March 13, 2013
• Applicant mailing address and phone number(s)
• Applicant e-mail address
• Sponsoring ACDA Member name, e-mail address and phone number(s).
• Voice Part for Audition (SI, SII, AI, AII, TI, TII, BI, BII), Grade Level
• Sponsoring Choir or Organization; including school, worship, community choir, etc.
• As part of the application, you are asked to read carefully and agree to the Singer Statement of Obligation.
YYouou willwill bebe advisedadvised ofof thethe followingfollowing informationinformation followingfollowing accceptance:ceptance: (Singer Statement of Obligation, Parent/Chaperone Statement of Obligation, Sponsor Statement and Character Recommendation for the Applicant, Financial Obligations)
SSingeringer StatementStatement ofof Obligation:Obligation:
I have read the guidelines and application forms and fully understand and acknowledge that selection as a member of the 2013 National Honor Choir is an honor. I am aware that only the finest singers will be chosen. This honor also brings significant musical and financial obligations. I will be committed to having the music fully prepared according to the instructions included in the music and registration packet. I understand that as a member of the honor choir, I must pay a $125 nonrefundable participation fee and that the ACDA is not responsible for the costs of my transportation, lodging or meals. I further understand that I will be lodging in a hotel designated by the conference committee and I must have a parent/adult chaperone residing in the hotel room with me following ACDA policy and my school/district/organization policy as it applies for overnight trips. Lodging information will be available in the singer acceptance materials and will appear on the ACDA website in Fall 2012 with conference rates as low as $129.00 per night, first come, first served. I understand ACDA will NOT provide supervision for singers outside of the rehearsal space and performance space. I also understand that the I must attend all honor choir rehearsals, March 13th, 14th, 15th, and 16th and the conference performance(s) on Saturday, late afternoon, March 16th at the Hyatt Hotel Ballroom.
CHORAL JOURNAL Volume 52 Number 11 53 FForor tthehe PParent/Chaperone:arent/Chaperone: Each singer must be accompanied by a parent/adult chaperone who will reside with the singer in the hotel room and supervise the singer outside of the rehearsal and performance area. Lodging information will be available in the singer acceptance materials and will appear on the ACDA Web site in Fall 2012 with confer- ence rates as low as $129.00 per night, first come, first served. When you view notification of acceptance, immediately call the hotel listed for your child’s choir and make your reservation. There is NO supervision provided by ACDA for singers outside of rehearsal and performance sites. ACDA will not be responsible for patrolling the halls or lobbies nor providing security pre or post rehearsals.Your teacher/sponsor is a member of the organization and will most likely attend conference events, therefore, is not available to provide this child with non-rehearsal supervision. Singers may not be left w/o chaperone at any time outside of the rehearsal/performancearea. Singers MUST have an adult chaperone on-site. • Singer Name • Parent/Chaperone Name & Address • Home Phone Cell Phone • E-mail • Relationship to Applicant/Singer (Parent/Guardian, responsible adult chaperone or adult organization designee). • You will be asked to sign a Parent/Chaperone Statement of Obligation.
Paarent/Chaperonerent/Chaperone SStatementtatement ooff OObligation:bligation: Upon this applicant’s selection for the 2013 Honor Choir, I understand that I will reside in the same room with the participant and follow the ACDA provided guidelines and any home school/district/organization guidelines as they apply for overnight trips. I further understand that I will be responsible for ensuring that the applicant attends all Honor Choir rehearsals and performances. I understand that ACDA is not responsible for the costs of transportation, lodging, or meals. I acknowledge that I am the party responsible for the singer while attending the 2013 ACDA National Honor Choir and that student singers may not be left unsupervised by me at any time outside of rehearsal/performance.
Singers will be supervised by ACDA authorized adult personnel while they are in rehearsal and performance. All other supervision of singers during any portion of their visit when the singers are not in Honor Choir rehearsal or Performance is the sole responsibility of the attending named chaperone.
FForor thethe Sponsor:Sponsor: • Sponsors must be current members of ACDA (Membership will be verified by the ACDA National and new and renewable memberships must be paid in full by October 1, 2012). • Name, Address and ACDA Membership Number • Preferred Address and Phone • E-mail Address • Sponsoring Organization: school, worship, community choir, etc • You will be asked to sign a Student/Participant Character Recommendation as shown below.
SSponsorponsor SStatemetatemenntt andand CharacterCharacter RecommendationRecommendation forfor thethe Applicant:Applicant: This student/singer has demonstrated the musi- cal ability and choral experience, motivation, personal discipline, citizenship, interest and cooperation necessary to represent his/her school, church, community choir, our city and state in the National Honor Choir to be held in Dallas, Texas March 13-16, 2013. I guarantee that the singer named will have the music prepared before arriving for the first rehearsal.
FFinancialinancial OObligations:bligations: • All transportation, meals, Honor Choir Hotel reservation and local expenses will be secured and paid for by the honor choir participants. ACDA assumes no financial responsibility to and from the conference or hotel costs nor for meals.When you view notification of acceptance, approximately November 1, 2012, immediately call the hotel listed and make your room reservation. • A $125 non-refundable participation fee MUST be returned with the acceptance letter, registration form, code of conduct contract, notarized medical release form, photo/video release and liability waiver. All forms must be postmarked and returned by midnight November 15, 2012. • Hotel reservations must be made in the Honor Choir Hotel assigned to your choir by December 15, 2012. When you view notification of acceptance, immediately call the hotel listed for your choir and make your reservation. ACDA Conference rate will begin at $129 per night, first come first served.
54 CHORAL JOURNAL Volume 52 Number 11 RRecordedecorded AuditionAudition ProcedureProcedure forfor allall ApplicantsApplicants Note: Audio-Enhanced Recordings will be disqualified. Recordings should NOT be enhanced electronically in any way. If enhancement/fraud is detected the submission will be discarded. Accompanied singer submissions will be discarded (exception: aria/art/folk/ song solo portion of audition). Record each audition element separately. The vocalization should be on one track, MMyy CountryCountry 'Tis'Tis ofof TheeThee (AAmericamerica) should be on a separate track, and the oonene minuteminute ofof anan artart song,song, aria,aria, oror folkfolk songsong (if required) should be on a third track.
11.. Vocalization:Vocalization: Sing two unaccompanied major scales on the syllable “Loo.” One from the middle of your range to your lowest accurate note, and the other, from the middle of your range to your highest accurate note. Please state the key of the scale before you sing it.You may sound the first note on a keyboard.
22.. MMyy CountryCountry 'Tis'Tis ofof TheeThee (AAmericamerica) Starting on the pitches listed below, sing the first verse acapella. You may sound the first note on a keyboard or other instrument. Soprano I—A above Middle C Tenor I—B below Middle C Soprano II—G above Middle C Tenor II—A below Middle C Alto I—E above Middle C Bass I—E below Middle C Alto II—D above Middle C Bass II—D below Middle C
SSTOPTOP the audition here for the Community Youth/Boychoir Audition. For the Middle School/Junior High, High School Women’s and High School Mixed Choirs continue to audition area #3 with:
33.. OneOne minuteminute ofof anan Aria,Aria, ArtArt Song,Song, oror FolkFolk SongSong (with or without accompaniment) that may be suitable for a competi- tion or festival. Limit the accompanied introduction to no more than 5 seconds. Pop, Gospel, and Contemporary worship pieces are not acceptable and will result in disqualification.
AAudition/Notificationudition/Notification ProcessProcess TimeTime LineLine • October 1, 2012 Audition Material Submitted Online www.acda.org Sponsors can review status of an application (complete, missing MP3, etc.) using their login ID (ACDA Number). All applicants will be given an audition number for the screening process. Applicants audition number will consist of 8 letters/digits and will be receipt/return emailed to the sponsor. Applicant name and identifying information will be hidden from the screening panel. Following the completion of all audition screening (November 1) the sponsor may access the website to view all audition numbers accepted into each choir. • Payment of $30 (non-refundable) must be submitted online for each applicant via debit or credit card only, to the secured server before the October 1st deadline along with their registration and .Mp3 upload. • November 1, 2012 Notification of all singers accepted. Ability to download important registration forms. When you view notification of acceptance, immediately call the hotel listed and make your reservation! • November 15, 2012 postmark deadline for singer acceptance forms and fees due to ACDA National • December 15, 2012 Music and other information mailed/e-mailed/download available to choir participants.
MMp3p3 AudioAudio AuditionAudition SubmissionSubmission • Use the best quality recording equipment you can. You can record a CD and convert it to an .Mp3 file format or record directly to your computer. iTunes is recommended for .Mp3 file conversion. • Garageband (Mac) and Audacity (PC) are recommended recording software. • Audio-Enhanced Recordings will be disqualified. Recordings should NOT be enhanced electronically in any way. If enhance- ment/fraud is detected the submission will be discarded. Accompanied singer submissions will be discarded (exception: aria/ art/folk/ song solo portion of audition). A singer auditioning for more than ONE choir will have both submissions discarded. • Do not speak the name of the applicant or otherwise identify the applicant on the recording. • All applicants will be given a single audition number for the audition process. Applicant name and identifying information will be hidden from the audition judging committee. • Recordings will not be returned. Technical support available June 1 via [email protected] and the help line phone number (313) 444-ACDA. ChorusAmerica.org Hundreds of Articles and Resources for the Choral Community Right at Your Fingertips!
Chorus America’s >> Expertise in Five Areas >> Visibility and Publicity robust web presence of Choral Music Our site is visited by people all over off ers choral directors, • Conducting & Performing the world—don’t miss out on the • Resources for Singers chance for international exposure singers, managers, • Advocacy & Research ■ Free Public Calendar board members, and • Management & Governance Have an upcoming concert? composers a one-stop • Education & Training Workshop? Festival? World shop for important premiere? Anyone may submit >> Jobs Directory listings to our public calendar: information about chorusamerica.org/calendar The latest openings in the our art form choral field for artistic and ■ E-marketing administrative positions Get the word out about your chorus, event, or product to >> Virtual Voice Lessons thousands of choral directors, Easy-to-follow video lessons managers, singers, and board to help choral singers improve members: intonation, breath support, • Sponsorships of Chorus America warm-ups, and more e-newsletters >> News Highlights • 6-Month spotlight placements on ChorusAmerica.org in the Choral Community Find out what peer choruses >> Connection to Peers are doing: premieres, recording Join us on Facebook and Twitter releases, appointments, for choral and arts news, articles, awards, contests, and more and discussions through our Member News portal and our online news facebook.com/ digest, High Notes chorusamerica Full access to articles and twitter.com/ resources is reserved chorusamerica for members of Chorus America— become a member today!
EXPLORE | ENGAGE | CONNECT Richard Stanislaw, Editor
A Composer and Publisher Speaks of Music Ministry
by
Joseph M. Martin
As a minister’s son, tradition is very im- We’re anticipating that the choir of the next that this is a great way for people to learn portant to me because my musicianship and 20 to 30 years will no longer hold music in scripture and to understand the deeper my faith developed hand-in-hand. I grew up their hands, but rather will hold a device to theologies that are so important and foun- in rural Appalachia—near towns called Frog which music can be downloaded instantly dational to faith. Level and Sandy Mush, not far from Dirty from other worshiping churches. I can just You are just like the travelers of old who Ankle. My mother was the church pianist. see a bunch of us with our cell phones out, put up the wayside Ebenezers and Bethels She was my fi rst teacher and my father was singing the anthem for Sunday. It’s a wild- in response to the worship and the praise my fi rst true ministerial model. They estab- west sort of world in the publishing industry in their lives. Not all of those monuments lished my foundations of worship and praise. right now. lasted. The winds of time wore them down; I work for a publishing company now I’m constantly challenged with balanc- the weather took some to oblivion. But and those early upbringings helped me to ing ministry with industry. I have the job of thankfully, in hymnody, anthem literature, and prepare myself. My job is to keep my com- staying in business, and yet, I have also been in music history, some of those Ebenezers pany in business by meeting the needs of called to try to open windows of worship raised in the desert are still standing because worshiping churches, so I have to continually opportunities for people with the gift of they were made of worthy materials. try to take the pulse of churches and what music, not unlike what you do every Sunday In England recently, I had the opportunity materials they might be needing, what the when you select worship songs or hymnody, of celebrating the Tercentennial of Charles choirs are singing, what the instrumentalist rehearse an anthem, or plan your cantatas Wesley by writing a cantata, and was able will need, and what kind of resources will en- and productions. to present that music at the chapel there. I able and encourage worship in those places. Every morning I get up to try and make saw the desk where he sat and poured his We have a variety of catalogs, which sense of all that, and try to fi nd composers, meet a variety of needs. A liturgical catalog musicians, ministers on mission, who are addresses one repertoire. Another cata- trying to write and be vital in their artistic logue continues the very important legacy efforts to meet the needs of both traditional of Fred Waring, and another is designed to and transitional churches. meet the needs of new churches and their I play a piano arrangement of Come CHOIR ROBES EXPERT $ 95 emerging worship vocabulary. We have col- Thou Fount of Every Blessing and the setting TAILORING 35 &UP legiate catalogs; we have praise and worship has to do with the words of that hymn: the Finest fabrics including permanent catalogs. We even have a new program beautiful, poetic imagery of God’s fount of press and wash & wear. Superior that publishes music, but doesn’t use paper. blessings; His provisions for us, like an arte- quality. Free color catalog and fabric swatches on request. sian well of promise. Of course, you have GUARANTEED SATISFACTION to have a history with that hymn and tune Call Toll Free: 1-800-826-8612 to fully appreciate it, the shared oeuvre of Joseph M. Martin is a composer, lyricist, worship music that helps us communicate and Director of Sacred Publications on that poetic level. for Shawnee Press, a division of Hal A lot of people coming into your church www.rcgown.com Leonard. do not have that shared history. Yet, we know P.O. Box 8988-CJ Jacksonville, FL 32211
CHORAL JOURNAL Volume 52 Number 10 57 faith into his pen by writing Hark, The Herald it’s a rare occasion when I am able to wor- they were just standing there like wooden Angels Sing, Christ the Lord Is Risen Today, And ship with my family—maybe a little more soldiers, you know? And because of my Can It Be, Jesus Lover of My Soul, and A Charge energizing and focused for me when I’m able fatherly infl uence, I just stuck the hymnbook To Keep I Have, and all of these incredible to stand and sing with my children. Maybe in front of them and they looked at me and texts which have such depth and meaning because you are on the podium all the time, they started to sing. They know music; they’re and power in peoples’ lives. As I sat there and you may not get that opportunity, either. not ignorant of music; they know these studied where he worked and experienced This particular week I was standing there hymns. They just needed to understand the the sacred space of the inspiration that was and it came time—the organ did the kind of moment! there, it was a moving experience for me familiar kind of crescendo as the introduction And by the time the fourth stanza came, because I realize how out of my hands any swelled and everybody began to check the dad, son, and daughter were singing our of the success of my own work, or the work bulletin and fumble for the hymnal. It was parts, coming together on this song that of any of us really is. It’s not up to us; we have a hymn that everybody knows and prob- they had heard for years. But that’s not the to be faithful to build as best we can, to meet ably didn’t need the book, but I searched transcendent thing. About halfway between the need as best we can. and fl ipped the cool pages and found my this and this, something happened in my I perform 70 concerts a year. I’m very place and began to sing. I got about halfway heart; it was revealed to me what exactly rarely at my church, First Baptist in Austin, through that fi rst stanza and I looked over this moment meant. Here I had in my hand, TX, a traditional church with an organ. But, at Jonathan and I looked over at Aubrey and this treasury of composers, poets, lyricists,
Following the extremely successful re-birth of the International Children’s Choir Festival at Canterbury Cathedral and London in 2011, 2013 is nearly a sell-out and Henry Leck’s NEW Aloha Children’s Choir Festival will begin in Hawaii in 2013! International Children’s Aloha Children’s Choir Festival Canterbury & Choir Festival London July 22 - 29, 2013 July 15 - 21, 2013 Honolulu, July 19 - 26, 2014 Co-Conductors July 12 - 18, 2014 Hawaii
Henry Leck Final Concert w/orchestra at Westminster Central Hall Final Festival Concert Individual Choir Concerts or Southwark Cathedral Waikiki Shell Central Union Church
Henry Leck David Flood, Master of the Festival Conductor Choristers, Canterbury Hilton Hawaiian Village, Waikiki Polynesian Cultural Center Festival Evensong Evening Concert Individual Concerts Three Festival Choir concerts: Evensong and Evening Concert in Six glorious days in Honolulu on Waikiki Beach with all lodging Canterbury Cathedral plus Final Festival concert in Westminster and rehearsals at the magnificent Hilton Hawaiian Village. Central Hall or Southwark Cathedral w/orchestra! Individual choir Immersion into Hawaiian culture with Olana Ai of Halau Hula concerts in Canterbury Cathedral and elsewhere. Olana and visits to the Polynesian Cultural Center!
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58 CHORAL JOURNAL Volume 52 Number 11 pastors, preachers, musicians, and teachers to do with the act of worship and the act the material he’s been working on as a young and I was passing this down and joining my of being in community with my children, musician and as a poet. It won’t be like my voice with my son and my daughter. And as we sang together. And if I imagine in my music, but it will be a continuation of a legacy it was in this simple gesture it rolled over heart’s eye, and I look over to my right, I of praise that goes back farther than we can me—my responsibility as a parent to transfer can see my mother holding the hymnbook ever imagine. And it’s that sharing that em- all that I knew about my faith and to live that for me—and Grandma Polly holding it for powers all of our ministries as we attempt in front of my children. her and on down the line to a dim candlelit to tell the old, old story in a new, new way. It was a strange way the hymnbook room where Charles Wesley stood at his ministered to me. It was not because of unusual little desk and bent over writing musical content, it was not because of the those incredible words. style, it was not because of the language My son studies cello; he’s a senior in being too Victorian or too contemporary, college now and I look forward to when he or too inclusive (the buzzword now). It had comes back and introduces me to some of
The RAYMOND W. A ccontestontest ccreatedreated iinn aann eeffortffort ttoo ppromoteromote cchoralhoral mmusicusic aandnd eensurensure iitsts ffutureuture bbyy showcasingshowcasing tthehe ttalentalent ofof youngyoung BROCK ccomposersomposers aacrosscross tthehe ccountryountry Memorial Student Composition Contest
Many young composers have responded to this opportunity motivated by the $1,000 cash award and the prospect of having their work premiered at an ACDA national or division conference.
Previous Winners include:
1998 Paul A. Aiken Flanders Field 2005 Dan Forrest Selah 1999 Daniel Pinkston Nunc Dimittis 2006 Dominick DiOrio The Soul’s Passing 2000 Aaron Garber Stabat Mater 2007 Kristen Walker In Monte Oliveti 2001 Michael Conti Choric Song 2008 Benjamin Paul May Absalon, fi li mi 2002 Joshua Shank Musica Anima Tangens 2009 Derek Myler Psalm 100 2003 Brian Schmidt Lux Eterna 2010 Michael Mills Crossing the Bar 2004 Kentaro Sato Kyrie 201 1 Joshua Fishbein Oseh Shalom
The application and contest guidelines are available at
CHORAL JOURNAL Volume 52 Number 11 59 NEW RELEASES
t This recording by the acclaimed Elora Festival
$)4"t Singers brings together eleven leading Canadian composers, with a program exploring the power CHANDOS PRESENTS: of tradition and faith. A recording by the Kansas City Chorale, celebrating René Clausen, one of America’s most beloved composers. Featuring the world premiere of Clausen’s Mass for Double Choir.
t Naxos presents All Shall Be Well, a wide-ranging program off ering connections and contrasts in music of devotion and consolation.
AVAILABLE AT: ARKIVMUSIC.COM
60 CHORAL JOURNAL Volume 52 Number 11 Stephen Town, Editor [email protected]
Polymath of Music and Letters convincing; I concur in this assertion. From a in the navy. The creative period, for example, Paul-André Bempéchat, Jean Cras, study of the extensive musical examples in includes the Cinq Robaïyats de Omar Khayam, Ashgate Publishing, 2009 Bempéchat’s book to his commentary, the a song-cycle for voice and piano, which 560 pp. argument is more than convincing. includes highly effective text- and mood- $99.95 But who was Jean Cras? As stated in painting. The opening of Nuit-Silence is highly ISBN 978-0-7546-0683-3 (hardcover). the title of the book, he was a polymath, a reminiscent of one of Ravel’s Cinq mélodies Renaissance man who was a composer, a populaires grecques [Five Greek Folk Songs] Jean Cras (1879–1932) was a complex conductor, violinist, and pianist, and a scientist, in musical fi gures, harmonic usage, and treat- composer who is now little known even in navigator, naval offi cer, and protégé of Henri ment of the vocal line, yet it is clearly not a his native France. Paul-André Bempéchat, an Duparc, and a widely read man of letters. copy. Bempéchat has an uncanny knack for affi liate of Harvard’s Center for European He patented several inventions during his analysis, describing works and their features Studies, has sought to redeem this situation, lifetime, including the gyrocompass, bearing concisely yet giving detail where needed. making Cras and his works more accessible his name, which is still in use today by the The unpublished viola sonata, L’ame [The through this work, which is quite detailed, navy of France and other boating entities. Soul] (1900), contains a foreword by the comprehensive in scope, and well-written He was a Bréton, from the region known composer which indicates his abilities in the indeed. as Brittany in northwest France, known for world of letters: This author had long thought that the its seafaring culture and unique folk music, French composer Emmanuel Chabrier which also factors into a signifi cant portion The body should be the docile slave (1841– 94), along with Debussy’s admira- of Cras’s work, as well as his life. of the soul and never tarnish the tion for the music of Wagner and exotic in- Bempéchat probes both Cras’s life and shimmering dust of its frail wings. fl uences including the gamelan, formed the work in extraordinary detail, with manifold And the mind loses itself, it wants to logical transition from the more Romantic musical examples, extensive analysis, and bio- free itself from its soul and believes language of Gabriel Fauré and Henri Duparc graphical detail. One factor which enabled it is able to coast on a higher plane. to the impressionists in music. Chabrier, him to do this was his friendship with the with his Spanish infl uences, also was heav- composer’s late daughter, Monique Cras, This is just the fi rst paragraph of an entire ily infl uenced by Impressionist painters from whom Bempéchat obtained much page of descriptive writing about the work. and had a long and deep friendship with information, family pictures, and music. His Many works contain a literary commentary Edouard Manet. In Chabrier’s studio were music, according to Bempéchat, comprises at the beginning; not necessarily a program, eleven masterpieces, including Manet’s Un fi ve periods: the early period, 1895– 99; but rather insights into Cras’s thought pro- bar aux folies bergère [The Girl at the Bar]; the early published works, 1899– 1910; cess, faith, and philosophy behind the writing. these along with other infl uences, gradu- 1910– 22, including the opera Polyphème, for The number of mélodie that Cras composed ally began the impressionist tide in music, which he won the Premier Prix du Concours also indicate his love of the literary; including or so I thought. Debussy, with his love of Musical de la Ville de Paris in 1921; 1922– 29, settings of Tagore, Rodenbach, Semain (who Wagnerian harmony but harmony made the period of his greatest creativity; and provided the libretto for Polyphème, and oth- “nonfunctional,” was another key to the 1930– 32, when he was in Brest and used ers). Further, we know that Cras is well read impressionist movement in music (“impres- more native materials. and has more than a casual acquaintance sionist” applied to music was a term that His works themselves span the entire with the writers of his day by the writings Debussy himself hated). gamut from opera to many mélodie; from Cras himself left behind about them. He also Enter Jean Cras. Bempéchat asserts that piano pieces to a piano concerto; from solo became friends with André Gide. Cras is the logical transition between the violin to chamber music, from male chorus Cras’s oeuvres, indeed, deserve re-exam- “impressionist” music of Debussy and the to a jazz work for saxophone quartet. Some ination by musicologists and historians, and more or less functional harmony of Fauré of the works, not surprisingly, were com- by musicians as well. Bempéchat has taken and Duparc. His arguments are more than posed while Cras was aboard ship, serving that fi rst step in reawakening the world to
CHORAL JOURNAL Volume 52 Number 11 61 this unique composer and man of many of ethnomusicology, folklore, education, refl ections and comments resulting in an talents. His writing is of the highest scholar- sociology, and phenomenological qualitative amazingly comfortable yet detailed account ship and detail, and this reviewer feels that research in order to best answer her initial of each normal, real-life situation. Results of he has touched only the surface of the rich- questions (pg. 11): these observations yield evidence of children ness of Bempéchat’s work, and the unique saturated in musical sounds both consciously transitional composer and Renaissance man • What do children musically do, on their and unconsciously. Children were singing, that is Jean Cras. own and unassisted by adults? “rhythmicking,” chanting and dancing through their day. Campbell reports that these al- Donald Callen Freed • Are they engaged in musical play in ways most constant musical utterances were clear Alpine, Texas typical of a generation or two ago? evidence of the integral nature of music in their lives. She goes on to explain how these • Do they “make up” their own music in sounds were part of their childlore, related Songs in Their Heads: Music and Its active ways, or do they seek out the medi- to their own subculture and to who they are Meaning in Children’s Lives, Second Edition ated music of CDs, DVDs, iPods, and video in the present. These musical utterances may Patricia Shehan Campbell games to stimulate or lull them? seem like sounds to simply hear themselves, London: Oxford University Press, 2010 but they might serve other purposes. Rhym- 307 pages • Are they sucked into the star system of ing, rapping, chanting, and singing often serve $24.95 rock, pop, and hip-hop artists—in part as a safety valve to release their tensions, ISBN: 978-0-19-538252-5 (paper) or in full? help them expel their energy, socialize with
62 CHORAL JOURNAL Volume 52 Number 11 their formal and informal methods two sections, the author brings new ques- found it interesting that Campbell suggests of learning music, and how they tions to the reader, specifi cally about the the issue of talent education as a negative might define music or particular nature and value of music education itself. I force in children’s musical development. Her musical styles. As well, I wanted to probe their own conscious efforts to create music and to understand something of the content of this music. I hoped to discover something of their musical needs and desires, partly by stimulating them to dream aloud their intentions to purchase musical “things.” Children’s own assessments of their musical studies A leader in performance tours for over 35 years at school were of interest to me, including indications of the reactions to specific types of instructional activities. Finally, I was curious to know something of children’s long- range sense of how music would fi t their lives.
Although Campbell had these general questions in mind, she let the conversations take their own shape, resulting in a very interesting sampling of children’s musical lives in their own words. These insights into the musical minds of children are fascinating. Some of my favorite quotes from this section include “I sing in my mind—not out loud— but my inside-singing is my guide to playing” (fi fth grader); “So with whistling, you’ve got to change tones once in a while, and with drumming, you’ve got to change from just all shorts to longs and shorts. That’s when it’s QHFW music, and not just sound” (kindergartener); Q R your choir with unforgettable venues “My grandmother is the one who give me & and international cultures on an itinerary music” (third grader). It is also very interest- ing to hear children comment on “children’s designed just for you. songs,” what happens in their music classes, Sing in the great cathedrals of Europe, perform in friendly village and their opinion about their school/com- munity ensembles. Campbell ends this churches, or make music under the stars on an open-air stage… section by commenting on the reoccurring Whatever your dream, we will make it happen - within your time themes resulting from these conversations frame and budget. that confi rm, challenge, or add to the knowl- edge of children’s complex musical selves. Part III “For Children: Prospects for Their “I have appreciated your time and careful attention to details Musical Education” presents the author’s col- throughout the past year in developing and bringing lective summary of the “big picture” of musi- to fruition a very successful, rewarding cal meaning in children’s lives through the synthesis of the “small pictures” developed Lycoming College Choir Tour in Argentina.” through group observations and individual – Fred Thayer, Director, Lycoming College Choir conversations with children. While revisiting the themes emerging from the previous *2:,77(JURXSV#ZLWWHWUDYHOFRPZLWWHWRXUVFRP
CHORAL JOURNAL Volume 52 Number 11 63 argument is that the conception of talent re-examination of our current assumptions. I believe one of the author’s most pro- often implies that education and hard work Campbell cleverly unites philosophical found statements is also one of the most have little if no place in the role of musical study and practical application in the third simple—“While children are musical with- success. She expresses concern that our so- section of the text. She relates philosophies/ out expert guidance, they become more ciety might perceive talent as a “rare genetic philosophers music education graduate stu- musical as a result of it” (pg. 248). Campbell endowment” and then question the use dents study in potentially abstract contexts concludes with a call for thoughtful consider- of instruction for the “untalented masses.” (Leonard Meyer, Bennett Reimer, Christo- ation, asking that parents and teachers craft Campbell claims this way of thinking has pher Small, David Elliott—to name just a a balance between what children naturally been responsible for music’s position as an few) to the real-life examples discussed in offer as young musicians and what adults afterthought, left out of the education of too the previous two sections. In my opinion, this offer to enhance their musicianship. many children (pg. 217). One of the author’s combination of philosophical and theoretical boldest statements is found on page 218, analysis with clear musical examples (from If our plan is carefully considered, “The great majority of children are educa- real children) is one of the best features of founded on the music of their play tionally disadvantaged by the very societies this text. and leisure, kindled by the music of that claim to bring them a full development While revisiting some of the children’s’ their hopes and dreams, and shaped of their abilities through the schools they most memorable statements, the author by the specialized skills we can have created.” discusses their importance and relation- deliver to them in lessons and class As discussed in the preface, Campbell ships to each other within the following instruction, they will fully realize their adds to this second edition a discussion of categories (I have chosen one quote from capacities as musically expressive individuals (pg. 274). the digital milieu of today’s children. Although each category as an example): “Whistling I appreciated this summary of our techno- and singing are close music.” —The Personal Eva Floyd logical age, this is the one area of the text Side of Music; “When I sing, everyone seems Cincinnati, Ohio where I was left wishing for a little more— to like me.”—The Social-Familial Sides of perhaps a few specifi c examples, strategies, Music; “Some music helps the stories along.” or recommendations. However, I intend no —The Functional Side of Music; “I listen and The Musician’s Breath: The Role of criticism in this regard as the author made fi gure it out.”—Self-Study of Music; “Nobody Breathing in Human Expression it clear that this text was not intended as knows my music but me.” —Musical Choices; James Jordan with Mark Moliterno and Nova a “how-to” book, but rather a collection “Harmonicas sound thicker than whistles.” Thomas of thoughts to inspire further study and —More of a Musical Education. Chicago, IL: GIA Publications, Inc., 2011. 228 pp. #G-7955 (Book) @$26.95 and DVD-844 @$24.95
CONTINUING EDUCATION UNITS FOR ATTENDING The Musician’s Breath: The Role of Breath- ing in Human Expression book and com- THE AMERICAN GUILD OF ORGANISTS' NATIONAL CONVENTION panion DVD offer valuable philosophical and pedagogical insights on the power of breath in the communication of emotion ACDA members and music expression. The concepts are ac- can register at discounted cessible and can be applied to a performer’s AGO member rates. (musician or actor) individual practice and incorporated in a conductor’s gesture and overall approach within an ensemble setting. Jordan writes, “Breathing with intention must become a commitment that is central to Those who wish to earn CEU’s at the AGO National Convention need to one’s artistry” (p. 46). While numerous music (1) att end the AGO National Convention, pedagogues have addressed the concept of breath, Jordan and his colleagues take a new (2) be members of ACDA, and approach to breath as and act of empower- (3) complete the Continuing Education Refl ection form. ment for purpose and intention of music expression. More information is avaialable at www.acda.org. The challenge here is that you are not simply taking a breath in the
64 CHORAL JOURNAL Volume 52 Number 11 biological, life-maintaining sense. Moliterno and Nova Thomas from West- exhalation. In the companion DVD, an inter- Instead, you are using the breath to minster Choir College of Rider University view with Thomas reinforces the material in carry a message: to transport not each contribute chapters. Mark Moliterno, the chapter through her articulate and pas- only a musical idea, but also human adjunct associate professor of voice and sionate description of the empowerment of emotional ideas (p. 45). certifi ed yoga instructor, offers “Breath, the breath for performers. Mind/Body Connector: A Classical Yoga Jordan also includes a chapter describ- The book is divided in two parts, “The Perspective on the Creative Process,” which ing the foundation of Qigong practice, Power of Breath” and “Interpretations and outlines basic concepts of “koshas” (layers), which promotes body alignment, breath Applications.” In part one, Jordan includes “prana” (breath), “asana” (postures), and engagement, and mind focus. Descriptions supporting and inspirational quotations “pranayama” (breath control). Moliterno and illustrations of a basic Qigong exercise intended to convince the reader of the describes the role of breath in creating a sequence are included in the text, but are power of breath with each inhalation and synergy within the body: “Artisitic expression not offered as part of the DVD. Interested expiration. He focuses largely on a philo- in music is the result of a coordinated effort readers with less experience in Qigong may sophical approach for the role of breath between a musicians’ internal creative intent, further benefi t from experiencing a guided in communicating music, defi nes potential breath energy, and physical activity” (p. 124). visual model of the exercise. In addition, arguments, and identifi es numerous ways Moliterno then leads the reader through an Jordan mentions a Study Guide to be used that breath can become blocked within the introductory description of a series of asana with the book; however, this is not currently body. He briefl y reviews the eight-handed and pranayama. The writing is clear and may available for purchase by the publisher. breathing technique and Edwin Gordon’s serve readers as a reminder of these exer- Jordan summarizes the guiding principal idea of the audiational breath, however, the cises for individual and ensemble practice. for this book in the fi nal chapter: more involved pedagogical discussion comes However, for those less familiar with yoga later in the book addressed in part two. practice, Moliterno’s guided yoga masterclass It is not a simple matter to explain In part two, Jordan’s focus shifts to the included on the companion DVD provides the particular miracle of breath. It second goal of the book, as it presents an effective way for the reader to become is a miracle, to be accepted. The ways in which one can allow air to enter immersed as a conscious breather within closest I can come to describing the the body. He includes a chapter specifi cally each exercise. The yoga masterclass begins experience is that at the moments of for conductors and outlines four pathways with a brief lecture followed by gentle and breath, one breathes into an idea and for connecting gesture with breath includ- opening asana suited for the novice or inter- becomes into an idea and becomes ing acceleration/deceleration of conducting mediate yoga student. His use of questions totally submissive to the power that gesture, the breath impulse gesture, empa- steers the student through self-inquiry and is in the breath—no questioning, no logic, no reasoning, no cognitive thetic constant exhalation, and the troughed encourages observations of blockages and control, just total submission at the beat. Jordan includes two score examples fl owing breath. breathing moment to the totality of with breath markings on entrance prepara- Nova Thomas, assistant professor of the breath and its powers (p. 188). tions instead of cue markings on the beat voice at Westminster Choir College of of entrance and implores conductors to Rider University and professor of practice The Musician’s Breath: The Role of Breath- model breath with intention for ensemble at the New School for Drama, New School ing in Human Expression offers performers, members. University in New York City offers her per- conductors, and teachers of musicians a spective on the use of breath by singers and renewing and re-energizing approach to the For conductors, the strength of actors in the chapter titled, “The Performer’s art of music expression. Conductors, singers, the communicative power of an Breath.” She describes performers’ psycho- instrumentalists, and actors are encouraged ensemble is directly proportional to physical connection, breath connection, and to seek out this book and companion DVD how the breath is empowered by offers alternate labels or “re-language” termi- if they have further interest in developing the conductor. If you are not aware nology for the cyclic breath process. Thomas a deeper, more intellectual and emotional of your breath and its content, then discusses “inspiration” to replace inhalation, connection with the breath. a world of communication is lost to as this is “the moment in time that has the your ensemble (p. 188). opportunity to visit thought, idea, opinion... Sandra A. Howard, the precedent to expression” (p. 152). She Keene, NH These techniques are modeled and further terms “expression” to replace exhalation as described by Jordan in a brief graduate cho- a method of joining breath with meaning and ral conducting masterclass included on the posits that performers must focus more on companion DVD The Musician’s Breath(sold the observation of the onset of exhalation separately). rather than management of breath during In addition, Jordan’s colleagues Mark
CHORAL JOURNAL Volume 52 Number 11 65 22013013 ACDAACDA NationalNational MusicMusic inin WorshipWorship FestivalFestival ChoirChoir DDallas,allas, TXTX MMarcharch 11-13,11-13, 20132013
VVoiceoice RequirementsRequirements andand EEligibility:ligibility: SSATB,ATB, AAgesges 2211 aandnd oolder.lder. TToo rregister,egister, yyouou mmustust bbee aann AACDACDA mmemberember wwhoho ddirectsirects oorr iiss a cchoirhoir mmemberember iinn a hhouseouse ooff wworship,orship, oorr bbee ssponsoredponsored bbyy aann AACDACDA mmemberember wwhoho iiss yyourour ddirectorirector iinn a househouse ofof worship.worship.
PPurposeurpose aandnd CChoirhoir MMake-up:ake-up: This choir is designed for adults who are directors or sing regularly in the choirs of houses of worship. Up to 100 singers will be selected, and will perform Faure’s Requiem, Rutter Edition, and Rutter’s Mass of the Children under the direction of John Rutter.
AApplicationpplication Fee:Fee: $$3030 nnon-refundableon-refundable aapplicationpplication ffeeee fforor eeachach aapplicant.pplicant. PPaidaid bbyy DDebitebit oorr CCreditredit CCardard ssubmittedubmitted onlineonline throughthrough tthehe ssecuredecured sserver.erver. NNoo PPurchaseurchase OOrdersrders wwillill bbee aaccepted.ccepted.
CConsiderations:onsiderations: Singers are responsible for their own transportation, food, lodging and copy of the Fauré Requiem, Rutter Edition, and Mass of the Children. Once accepted, choir members will receive a list of suggested hotels near the rehearsal site where reservations can be secured. Participants must plan to arrive in time to begin rehearsals early Monday afternoon, March 11. Singers are required to attend all rehearsals, and may be eliminated from the chorus for absence or tardiness. Music must be learned and ready for final polish upon arrival in Dallas. Participants are responsible for holding their music in a black folder.
Online Registration is open between 8/01/2012 and 10/01/2012
OOnlinenline ApplicationsApplications OOverviewverview • Online Registration will include necessary information, statements of understanding for applicant, and ACDA membership ID and information for applicant or sponsor.
•Recorded audition submitted online in an Mp3 format (instructional video and recording tips will be available at www.acda.org on 6/01/2012. Technical support by email will be available 8/01/2012 and assistance by phone will be available the week before registration closes on 10/01/2012.
•Secure online payment using credit card (NO purchase orders will be accepted.)
Technical Assistance will be available during the registration period for applicants or sponsors needing help or experiencing difficulty with the online process.
IInformationnformation andand DDirectionsirections 1. Visit www.acda.org 2. Click on the link for National Honor Choir Submission. *This will take you to an external site. 3. Enter your or your sponsor’s ACDA number and online password. 4. Verify that your name and contact information are correct. 5. Register singer(s). *Sponsoring ACDA member can register multiple singers. 6. Upload individual audio files (Mp3 format). 7. Electronically sign agreement statements. 8. Submit payment electronically via credit card.
66 CHORAL JOURNAL Volume 52 Number 11 22013013 ACDAACDA NationalNational MusicMusic inin WorshipWorship FestivalFestival ChoirChoir DDallas,allas, TXTX MMarcharch 11-13,11-13, 20132013
OOnlinenline IInformationnformation RRequiredequired
YYouou wwillill bbee aaskedsked fforor tthehe ffollowingollowing iinformationnformation dduringuring tthehe oonlinenline rregistration:egistration:
• ForFor tthehe ApplicantApplicant • NameName aandnd DDateate ooff BBirthirth • MailingMailing AddressAddress aandnd PPhonehone • EmailEmail AddressAddress • VoiceVoice partpart fforor aauditionudition (S1,(S1, S2,S2, A1,A1, A2,A2, T1,T1, T2,T2, B1,B1, BB2),2), AAge,ge, HHeighteight iinn iinchesnches • ACDAACDA membershipmembership # oorr ssponsoringponsoring AACDACDA mmemberember • AsAs partpart ofof thethe application,application, youyou aarere aaskedsked ttoo aagreegree ttoo tthehe SStatementtatement ooff OObligationbligation bbelow.elow. SSigningigning tthehe aapplicationpplication iindicatesndicates thatthat youyou hhaveave rreadead aandnd aagreegree ttoo tthehe ppoliciesolicies ooutlinedutlined iinn tthehe SStatement.tatement.
SSingeringer SStatementtatement ofof Obligation:Obligation: I hhaveave rreadead tthehe gguidelinesuidelines aandnd aapplicationpplication fformsorms aandnd ffullyully uunderstandnderstand tthathat sselectionelection fforor tthehe 22013013 NNationalational MusicMusic inin WWorshiporship FFestivalestival CChoirhoir bbringsrings wwithith iitt ssignificantignificant mmusicalusical aandnd ffinancialinancial oobligations.bligations. I understandunderstand tthathat aass a mmemberember ooff tthehe FFestivalestival CChoir,hoir, tthehe aapplicantpplicant mmustust ppayay a $$100100 nnon-refundableon-refundable pparticipationarticipation ffeeee aandnd tthathat tthehe AACDACDA iiss nnotot rresponsibleesponsible fforor tthehe ccostsosts ooff tthehe aapplicant’spplicant’s ttransportationransportation oorr llodging.odging. I understandunderstand thatthat allall mmealseals aarere tthehe rresponsibilityesponsibility ooff tthehe pparticipant.articipant. I aalsolso uunderstandnderstand tthathat tthehe pparticipantsarticipants mmustust aattendttend allall festivalfestival cchoirhoir rehearsalsrehearsals MMarcharch 11-131-13 aandnd thethe conventionconvention pperformanceerformance oonn MMarcharch 113.3. EEachach aapplicantpplicant mmustust bbee committedcommitted ttoo havinghaving tthehe mmusicusic ffullyully ppreparedrepared ppriorrior ttoo aarrivalrrival aatt tthehe ffirstirst rrehearsal.ehearsal.
FForor tthehe SponsorSponsor ooff aann aapplicantpplicant wwhoho ssingsings uundernder ttheirheir ddirectionirection iinn a HHouseouse ooff WWorship:orship: SSponsorsponsors mustmust bebe ccurrenturrent mmembersembers ooff AACDACDA ((MembershipMembership wwillill bbee vverifiederified bbyy tthehe AACDACDA NNationalational OOffice,ffice, aandnd nnewew andand renewablerenewable mmembershipsemberships mmustust bbee ppaidaid bbyy OOctoberctober 11,, 22012.012.
NNameame andand AddressAddress AACDACDA MMembershipembership NNumberumber PPreferredreferred AAddressddress aandnd PPhonehone EEmailmail AddressAddress SSponsoringponsoring HHouseouse ooff WWorshiporship
FFinancialinancial ObligationsObligations
• All transportation, meals, and expenses will be made and paid for by the honor choir participants. ACDA assumes no financial responsibility to and from the convention.
• A $100 non-refundable participation fee with the acceptance letter and registration form, postmarked by November 15, 2012.
• Lodging while in Dallas. Convention hotels will be recommended.
CHORAL JOURNAL Volume 52 Number 11 67 22013013 ACDAACDA NationalNational MusicMusic inin WorshipWorship FestivalFestival ChoirChoir DDallas,allas, TXTX MMarcharch 11-13,11-13, 20132013
MMp3p3 AudioAudio AuditionAudition SubmissionSubmission • Use the best quality recording equipment you can. You can record a CD and convert it to an .Mp3 file format or record directly to your computer. • Garageband (Mac) and Audacity (PC) are recommended recording software. • itunes is recommended for .Mp3 file conversion. • Audio-Enhanced Recordings will be disqualified. Recordings should NOT be edited or enhanced electronically in any way. • Do not give the name of the applicant on the recordings. • All applicants will be given an audition number for the screening process. Your name and information will be hidden from the panel. • Recordings will not be returned.
RRecordedecorded AuditionAudition ProcedureProcedure • Vocalization: Sing two unaccompanied major scales on the syllable “Loo.” One from the middle of your range to your lowest accurate note, and the other from the middle of your range to your highest accurate note. Please state the key of the scale before you sing it.
• Sing from Fauré Requiem, with or without accompaniment:
S – No. 2, “Offertory,” mm. 77–94 A – No. 2, “Offertory,” mm. 77–94 T – No. 2, “Offertory,” mm. 77–94 B – No. 2, “Offertory,” mm. 77–94
AAudition/Notificationudition/Notification ProcessProcess TimeTime LineLine
• OctoberOctober 1,1, 20122012 AuditionAudition MaterialMaterial SubmittedSubmitted OnlineOnline atat www.acda.orgwww.acda.org
• Applicants can review status of application (complete, missing Mp3, etc.) using their login ID (ACDA Number). All applicants will be given an audition number for the screening process. Your name and information will be hidden from the screening panel.
• Payment of $30 (non-refundable) must be submitted online via debit or credit card only, to the secured server before the October 1st deadline along with their registration and .Mp3 upload.
• NovemberNovember 1,1, 20122012 NotificationNotification ofof allall singerssingers acceptedaccepted
• NovemberNovember 15,15, 20122012 PostmarkedPostmarked deadlinedeadline forfor singersinger acceptanceacceptance formsforms andand feesfees duedue toto ChairChair
WWhenhen youyou receivereceive notificationnotification ofof acceptance,acceptance, immediatelyimmediately makemake youryour roomroom reservation!reservation!
68 CHORAL JOURNAL Volume 52 Number 11 Women in Choral Music IInn conjunctionconjunction withwith thethe bookbook publishedpublished byby GIA,GIA, WWisdom,isdom, WWitit aandnd WWill:ill: WWomenomen ChoralChoral CConductorsonductors OOnn TTheirheir AArt,rt, JoanJoan CatoniCatoni CConlononlon aandnd RRachelachel SSametamet aarere ccompilingompiling nnamesames aandnd ccontactontact iinformationnformation fforor wwomenomen wwhoho aarere aactivective iinn cchoralhoral mmusicusic aass cconductorsonductors aandnd eeducators.ducators. WWouldould yyouou llikeike ttoo aadddd yyourour nname?ame? AAllll wwomenomen aactivective iinn cchoralhoral mmusicusic aarere wwelcomeelcome aandnd eencouragedncouraged ttoo ddoo sso.o. TThehe ppurposeurpose ooff tthehe ddatabaseatabase iiss ttoo ppromoteromote ccollegialityollegiality aamongmong wwomenomen cchoralhoral cconductorsonductors aandnd ttoo sserveerve tthehe ggrowingrowing nnumberumber ooff wwomenomen cconductorsonductors wwhoho havehave expressedexpressed a ddesireesire ttoo kknownow ttheirheir ccolleagues.olleagues. AAdditionally,dditionally, tthehe ddatabaseatabase wwillill aalsolso sserveerve ttoo eexpandxpand aawarenesswareness ooff wwomenomen wwhoho mmightight bbecomeecome ggraduateraduate aandnd uundergraduatendergraduate mmentors,entors, oorr wwhoho mmightight bbee ssoughtought ttoo cconductonduct aall-statell-state aandnd hhonoronor cchoirs.hoirs. WWee iinvitenvite yyouou ttoo bbee a ppartart ooff tthishis iimportantmportant rresource!esource!
BBrowser o w s e tthehe WWomenomen iinn ChoralChoral MMusicusic Data-Data- bbase.ase. YYouou wwillill fi ndnd anan EntryEntry FFormorm forfor tthehe ‘‘wo-wo- mmeninchoralmusic’eninchoralmusic’ ddatabaseatabase aandnd ccontactontact iinformationnformation fforor eeachach eentry.ntry.
WWee wwelcomeelcome aanyny qquestionsuestions yyouou mmightight hhaveave aaboutbout tthishis pproject.roject. FForor qquestionsuestions aboutabout tthehe bbookook WWisdom,isdom, WWitit aandnd WWill:ill: WWomenomen CChoralhoral CConductorsonductors OOnn TTheirheir AArt,rt, ppleaselease ccontactontact GGIAIA PPublications,ublications, oorr JJoanoan CCatoniatoni CConlononlon aatt <
AAdditionally,dditionally, cconductorsonductors mmayay joinjoin thethe FFacebookacebook groupgroup 'Women'Women CChoralhoral CConductors'onductors' fforor ffurtherurther ddiscussioniscussion bboardsoards aandnd nnetworking.etworking. FForor qquestions,uestions, ccontactontact GGiselleiselle WWyers,yers, aatt <
CHORAL JOURNAL Volume 52 Number 11 69
David Puderbaugh, Editor [email protected]
A Year at York The feast of Candlemas is the liturgi- point, transporting the listener to a higher The Choir of York Minster cal occasion for Richard Shephard’s Nunc level of bliss. Robert Sharpe, Director dimittis in A. Lionel Dakers commissioned George Haynes composed O sacrum David Pipe, Organ Shephard to write a Magnifi cat and Nunc convivium [O sacred feast] for the Feast of Regent REGCD 368 (2011; 76’54”) dimittis in memory of Dakers’ wife, Elizabeth. Corpus Christe. Haynes is a choral scholar However, Dakers died before the project at York Minster and a music student at the A Year at York is organized by the liturgical was completed, and the cathedral took University of York. His use of chromatics calendar and is remarkable in the fact that over the commission in their memory. The and keen sense of dynamics brings Thomas it contains not one, but eight premiere re- tender setting features fl owing choral lines Aquinas’s text to life. The choir’s reading cordings. It is a musical treat to hear so many that make it a pleasure to hear. The vocal satisfi es each time that this reviewer listens premieres on one CD, and this review will tessiturae do not make demands on either to it. This single track alone is worth the focus on each of them. extreme of the range. If your choir is new to price of the CD. In 2009, the Friends of Music of York the canticles of Evensong, this setting would Gabriel Jackson composed Justorum Minster commissioned Cornish composer, be a great place to start. animae [The souls of the righteous] to com- teacher, and pianist Paul Comeau to com- Philip Moore’s Caedmon of Whitby’s First memorate All Souls Day in a manner that is pose Audi coelum [Hear, O heaven] for its Hymn begins with a dialogue between the both musically and spiritually mesmerizing. Festival of Nine Lessons and Carols. Upon trebles and basses and then swells into eight As soon as the listener is at ease with this director Robert Sharpe’s suggestion, Co- parts with the statement: “The Lord God, scenario, the mood changes and the music meau used in his composition a “double the Lord almighty created the earth.” This becomes extremely agitated. This frantic and echo” technique well suited to the acoustics piece is captivating, even after multiple hear- tense section ultimately abates, and the lis- of York Minster, creating a nuanced feast of ings. If you are looking for a pleasant sound- tener is returned to the calm serenity found sound that exploits a wide range of tempi ing piece that can be learned fairly quickly at the beginning of the piece. and dynamics. Specifi cally, for the feast of the and deals with the Creation story, consider With an abundance of CDs featuring Conception of the Virgin Mary, Audi coelum this fi ne example of Moore’s choral writing. cathedral choirs from Great Britain, the is a fascinating composition that requires not Although an older work, Edward Bair- question must be asked: Why should I only an excellent acoustic, but also the choral stow’s The Lamentation (as sung in York purchase A Year at York? In this reviewer’s forces to do it justice. Minster) is recorded for the fi rst time on opinion, among this CD’s many strengths are Once himself a singer at York Minster, An- this disc. Of the work, Bairstow wrote, “It the choir’s splendid sound, forged by Robert drew Carter composed his Epiphany choral is just a few chants of irregular pattern and Sharpe, which is somewhat unique because work The Magi for the 2010 Festival of Nine a refrain; but it is effective.” The text “Jeru- the choir consists of boys and girls; the skilled Lessons and Carols. The Magi is homophonic salem, Jerusalem, return unto the Lord thy playing of organist David Pipe; John Lees’s and hymn-like in its structure; as expected, God” and its unifying musical theme blossom superb liner notes; and the presence of eight each stanza is treated in a similar fashion. into an expressive cry for repentance and premiered works. However, the pace slows and takes on a God’s blessing. The choir’s performance of This reviewer thoroughly enjoyed this quasi-recitative texture, with the choir ac- the chant exhibits exquisite pacing, phrasing CD. If you work with sacred music, then you companying the soloist, when the gifts of the and articulation. owe it to yourself to purchase this recording; Magi are presented to the Christ child. The Using the writings of St. Alcuin of York, once you have the opportunity to listen, it ensemble reverently sings the text “kneeling Humphrey Clucas composed A Prayer of will not disappoint! in worship” at the end of each stanza, and at Alcuin of York to mirror the saint’s deep the piece’s end, “Christ (is) the morning star” insight and gentleness. Given the descrip- Steven R. Gibson is repeated, once with full dynamic and once tion of Alcuin’s life and ministry, this listener Franklin, Virginia in hushed awe. Upon each hearing, the piece expected to hear a piece of great tranquility made a deeper connection with this listener. and beauty. The recording did not disap-
CHORAL JOURNAL Volume 52 Number 11 71 That Eternal Day Johannes Eccard: Frölich will ich singen but Jirka varies the orchestration and vocal Cantus Staats- und Domchor Berlin and Lautten forces to hew closely to the musical and tex- Cantus Recordings CTS-1210 (2010; 63’53”) Comagney Berlin tual tone of the individual pieces. However, Kai-Uwe Jirka, Director one might wish for fewer numbers in which Cantus, one of the premier male vocal Carus 83.449 (2011; 58’10”) the tambourine makes a dramatic entrance ensembles in the United States, builds on partway through, as the effect loses some the success of its 2003 recording Deep In this lively recording, Kai-Uwe Jirka, the of its impact by the end of the disc. The River with That Eternal Day. This outstanding Staats- und Domchor Berlin, and the Laut- completely chordal singing and playing is recording presents a wide range of Ameri- ten Comagney Berlin present eighteen of expressive, with varied dynamics and fl exible can choral music, from spirituals to Sacred the sacred and secular songs of Johannes phrasing. Some of the secular selections are Harp to Bobby McFerrin, and several new Eccard (1553 –1611). Eccard was a choirboy distinguished by particularly colorful orches- arrangements. in Weimar in his teens, then sang under Or- trations and performances; the introduction The recording begins with the spiritual lando di Lasso in Munich, and later worked to Der Music Feind seind Ignoranten [The There’s a Meeting Here Tonight. As with all as court composer and music director in ignorant are enemies of music], for example, of the tracks on the CD, Cantus sings with Augsburg, Königsberg, and Berlin. His music, falls apart, with wheezing instruments and rich enthusiasm and palpable conviction; mostly chordal with occasional polyphonic halting percussion. this track has a freshness that makes it easily fl ourishes, gives primacy to the text, with a For those with an interest in late-Renais- mistaken for a live recording. Cantus’s ability top-voice melody anchored by a harmonic sance, post-Reformation German music, and to change colors easily is very apparent in bass and two interior voices. Within that those with an interest in stylish, imaginative Wondrous Love, the next track, sung in bright compositional model, however, Eccard fi nds early-music recordings, this disc will be a wel- Sacred Harp style. The spiritual Been in the considerable room for variety, making use of come addition to their collections. It includes Storm is a perfect example of the group’s rapidly changing rhythms, metrical shifts, and eight world premiere recordings, and offers a ability to redesign a classic American spiritual, unexpected melodic moves. vibrant take on the music of Eccard. adding contemporary harmonies to tradi- The fi rst track, Ein feste Burg, opens tional music. The conviction with which they with a literal bang, as a short solo drum David Rentz sing this track is outstanding and moving. As cadence leads into an introductory phrase Claremont, California a male choir director, this reviewer found it played by the full forces of the Lautten Co- exciting to hear the popular spiritual Wanting magney Berlin, a fi fteen-member Baroque Memories, sung in the male register. Cantus instrumental ensemble. The Staats- und John Tavener: Choral Ikons drops the key to F sharp, however nothing Domchor Berlin, an acclaimed boys’ choir The Choir is lost. The recordings of E’en So, Lord Jesus, that has been in existence in some form James Whitbourn, conductor Quickly Come; Witness; and The 23rd Psalm since 1465, then enters with a full-throated Opus Arte CD9007 D (2011; 59’) (dedicated to my mother) are all excellent. rendition of Eccard’s setting of Luther’s The CD’s last track, Diane Loomer’s arrange- chorale. The combined ensembles romp Choral Ikons is an insightful, expressive ment of Goin’ Home, features the memo- through the piece, enthusiastically thumping look into some of John Tavener’s most be- rable tune from the second movement of the syncopations and counter rhythms. The loved choral music. Though it is a rerelease of Dvorak’s Ninth Symphony. It is hauntingly Staats- und Domchor has all of the hallmarks material fi rst heard on the DVD Choral Ikons beautiful, and the tenor soloist, Shahzore of a fi ne choir of men and boys. Their strong, (Opus Arte, 2002), this disc is the fi rst time Shah, is excellent, emulating the beauty of penetrating treble tone usually stops well the music of Choral Ikons has been made the original English horn solo. short of strident, though it is perhaps not available as a CD. James Whitbourn and The This listener was thrilled to hear this as graceful during more lyrical passages. Choir invite us to experience this music beautiful recording by Cantus. Not only is The clear, relatively uncovered singing of the anew, without the DVD’s visual attribute. the singing captivating, uplifting, and mes- tenors and basses complements, rather than The visual still comes to mind, however, merizing, the disc is full of accessible music battles, the trebles. The instrumentalists play as the vibrant acoustic and The Choir’s bright that may be appropriate for your own male stylishly throughout, supporting and phrasing sound offer insight into how we might hear ensembles. At the same time, the technique, with the singers, and occasionally coming to the yellows and golds characteristic of Or- variety, vocal color, and dynamics are top- the fore of the texture. thodox ikons. Such tone, especially in the rate, and this disc can be used as an effective The majority of the pieces are short, sopranos and altos, may seem overly bright teaching tool. almost entirely homophonic works—they to American ears, but it is most convincing are extended to a more respectable length in positioning these pieces as ikons and not Matthew Smyth by the inclusion, on the majority of tracks, simply as the choral works with which choral Nashville, Tennessee of a full or partial introductory verse with music lovers are familiar. instruments alone playing the vocal parts. Many tracks, including The Hymn of the This approach could become monotonous, Unwaning Light and Parting Gift for Tam Far-
72 CHORAL JOURNAL Volume 52 Number 11 row (both previously unavailable on CD), of this repertoire. Through these elements, to his mentor William Byrd, Peter Philips display Whitbourn’s subtle and expressive Whitbourn transmutes this music from the spent most of his working life on the Con- interpretation. Song for Athene’s luxurious aural to the visual and gives listeners a taste tinent. Much of this was in the service of tempo intensifi es its familiar climax, in which of the spiritual realm of the ikon. the Archduke Albert in the (now Belgian) The Choir seems to surpass the sound pos- city of Antwerp, who welcomed recusants sible with fourteen voices. Furthermore, in Jeremiah Cawley like Philips and his contemporary John Bull, Whitbourn’s hands, the Magnifi cat’s rhythms Seattle, Washington who had left England to avoid Protestant dance as rarely heard on any recording, and persecution of one sort or another. Thus soloist Claire Tomlin enlivens the work’s emancipated, Philips freely expressed his Byzantine-infl uenced acciaccature. Peter Philips: Cantiones Sacrae Quinis et devotion to the Virgin in a series of Marian Choral Ikons offers some of the most dy- Octonibus Vocibus antiphons, several of which are heard on namic renderings of Tavener’s choral music, The Sarum Consort, Salisbury (UK) this recording. Their elegance is always in and Tavener says as much in his commentary Andrew Mackay, conductor evidence, as is his penchant for word painting accompanying the original DVD. Though Nigel Gardner, organist and triple rhythms that lighten any peniten- moments of poor intonation or odd vibrato Naxos 8.572832 (2011; 65’08”) tial mood. Often, such a rhythmic pattern is occasionally mar the music’s surface, the used for a conclusion, and it’s remarkable variety of vocal color, expression, and inter- One of the most published English how these Alleluias differ in feel and texture. pretive force are scarce among recordings composers of his generation, second only Nonetheless, Philips could never quite turn
CHORAL JOURNAL Volume 52 Number 11 73 a phrase or harmony in the memorable An important addition to the recorded the twenty-two passages inscribed on the fashion of his contemporaries Orlando Gib- corpus of Philips’s music, to be sure, and coffi n. The second part is a more traditional bons or Thomas Weelkes: no, Philips’s music worth waiting the eleven years it has taken double-choir motet on Psalm 73, the basis is polished and appropriate, but it seldom for Naxos to release it from the record- for the funeral sermon’s text. In the third seems “distinctive.” On this second disc ing sessions of August 2000. It certainly section, Schütz combines a fi ve-part setting of his music by the Sarum Consort (their makes for a stark contrast with the same of the Canticum Simeonis (Nunc dimittis) with fi rst was on the ASV label), a few pieces do label’s fi rst anthology of Philips’s motets a distant trio of a bass and two sopranos stand out though, both in their inspiration (8.555056), performed by New Zealand’s (the departing soul and the accompanying and execution, and these are generally from Tudor Consort, who positively bask in the seraphim) who sing “Selig sind die Toten” his collection of thirty-eight motets for eight resonance of Erskine College Chapel, Wel- [Blessed are the departed]. voices, published in 1612. Three are included lington. Other Philips recordings, by King’s The performance by the Dresdner Kam- here, of which Ecce vicit Leo is particularly College, Cambridge (EMI) and Winchester merchor, under Hans-Christoph Rademann, fi ne. A year later, Philips published a second Cathedral (Hyperion), likewise afford a is superb. Diction and dynamic shading are volume of motets, but for fi ve voices, and sense of space sometimes at the expense of uniformly excellent. The continuo playing from those sixty-nine motets seventeen are clarity. So it is that while shedding the more (violone and organ) is subtle and effective. A heard on this disc, some for the fi rst time. expansive sound of the Erskine and King’s high point is the choir’s blend, with a beauty, From this 1613 collection, two are especially Chapels, and the sprightly exuberance of lightness, and clarity of tone well suited to effective, Beata Agnes and Ne timeas, Maria, the Winchester boys, Andrew Mackay and Schütz’s music. This inner light illuminates the both of which show a more passionate side Andrew Post here bring us closer to the works’ spiritual content and helps to keep to Philips’s writing. music with performances of great intimacy. the disc—over sixty-eight minutes of unadul- Unfamiliar though much of this music In performance and repertoire, then, this terated death and dying—from becoming a may be, the motets receive a sympathetic release helps us appreciate better the prodi- real downer. That the choir is from Dresden, performance from the singers, accompanied gious and refi ned output of one of the most where Schütz worked for over forty years, discreetly on chamber organ (for eleven of important composers of his generation, a only strengthens the connection between the twenty tracks) by Nigel Gardner. The musician somewhat recondite because of the singers and the music. performances are uniformly well coordi- his self-imposed exile. The other works on the disc also merit nated by Andrew Mackay, who founded this exploration. Running the gamut of Schütz’s English provincial choir in 1992. Occasionally, Philip Barnes funeral music—chorales, sacred concertos, one might have wished for a less perfunc- St. Louis, Missouri funeral motets, solo song—these six ad- tory conclusion to a motet, to allow Philips’s ditional pieces include four world premiere harmony to unfold and capture the listener’s recordings. Of particular note is the motet attention. It is also true that one of the two Heinrich Schütz: Musikalische Exequien; und Das ist gewisslich wahr [This is certainly the sopranos sometimes has an edge to her andere Trauergesänge truth], which Schütz composed in 1630 on voice that is a tad distracting, but that is only Dresdner Kammerchor the death of his personal friend and kindred a slight cavil among voices that are generally Hans-Christoph Rademann, conductor musical spirit, Johann Hermann Schein. The fi rst rate. Though the CD booklet features a Carus 83.238 (2011; 68’24”) text’s juxtaposition of darkness (“I am the photo of a previous recording session using foremost among sinners”) and light (“but fourteen singers, only eight contributed to This disc, the third volume in the Dres- compassion is granted to me”) is refl ected this recording, which is a shame, as more dner Kammerchor’s complete works of beautifully in Schütz’s setting, and mirrors the voices could have afforded a greater dy- Schütz, is a fascinating collection of Schütz’s entire disc’s balance between the sadness of namic contrast here and there. The added funeral music—music of mourning, and also death and the joy of redemption. warmth of another bass would have been of comfort; of anguish, yet also of consolation welcome, especially since the singers are and redemption. Marc Falk so well recorded by Andrew Post at the The recording’s centerpiece is Schütz’s Iowa City, Iowa Wardour Chapel, an appropriately “recusant Musikalische Exequien. Commissioned in chapel” itself just a few miles from Salisbury. 1636 by the widow of Count Heinrich Post- The diction is excellent, making quite audible humus Reuss, and set to texts that the count John Taverner: Imperatrix inferni: the French-Latin pronunciation that Mackay, himself had chosen and then had engraved Votive Antiphons & Ritual Music a trained classicist himself, might suppose on his own stunning copper coffi n, the Alamire would have been used in Antwerp. This miti- work foreshadows Brahms’s Ein Deutsches David Skinner, conductor gates the lack of texts in the booklet which Requiem in its humanistic approach to death, Obsidian CD707 (2011; 70’) are to be found, with English translations, on and in its use of some of the same biblical Naxos’s Web site. passages. The work is in three parts, starting The vocal ensemble Alamire, directed by with a sacred concerto in which Schütz sets David Skinner, has proven with their latest
74 CHORAL JOURNAL Volume 52 Number 11 album, John Taverner: Imperatrix inferni, that the equal-ranged tenor. Skinner takes English choral ensembles continue to domi- advantage of the wide range of female nate the performance of Tudor choral music. voices in his interpretation of the short THE The full-bodied richness with which they work Audivi vocem for four solo high CHORAL JOURNAL sing, fi rst championed by the Tallis Scholars, voices with alternating phrases sung achieves superior levels of blend and balance by the men in plainchant. The perfor- INDEX IS NOW that illuminate the polyphony of this remark- mance reveals the practice at Oxford able composer. colleges of the time, in which fi ve boys AVAILABLE ONLINE Skinner, a musicologist by training, has would sing, “their heads covered with called Taverner a “quiet genius” who antici- white amices and carrying lighted can- THOUSANDS OF ARTICLES pated the reformist ideals which shaped the dles,” while the clerks sang the chant. music of Tallis and Byrd. Unlike his contem- The intimacy of the setting provides an HAVE BEEN CATALOGUED, poraries Fayrfax and Ludford, made famous unnecessary but satisfying release from ANNOTATED, AND by their association with the Royal Chapel the full-textured larger works. CROSS-REFERENCED and their inclusion in such monumental One of the most historically signifi - collections as the Eton Choirbook, Taverner cant works on the album is Taverner’s spent the bulk of his artistic career compos- setting of Quemadmodum, from Psalm ing for the newly founded Cardinal College 42. Here Taverner’s attention to text (later Christ Church) in Oxford. The college declamation, “As the hart panteth af- maintained a considerable choir of forty ter the fountains of water,” reveals an singers, which would have performed the evolving compositional practice. The large-scale Marian antiphons for which the melodic restraint and narrowness of Pre-Reformation Tudor era is known. Tav- the vocal ranges contrast sharply with erner’s little-known Ave Dei patris fi lia best his earlier works, and the ensemble represents these earlier works. expertly maintains its full, resonant In Ave Dei patris fi lia, Taverner commits sound within this more controlled to the highly descriptive Marian text through environment. Another later work, a composed execution of tender, winding Mater Christi, contains even more melodies. Skinner’s interpretation, likewise, overt indications of Taverner’s evolving is refreshingly elegant: smaller-scale trios style: tightly bound points of imitation, between solo voices are at times both gentle antiphonal effects, and almost entirely and dramatic, and the singers seem to revel syllabic text setting. openly in the music’s beauty. Two internal For all the beauty found in the trios are worth special mention. In the fi rst virtuosic melodies that defi ne the the lower voices solemnly pronounce Mary English Pre-Reformation music of his “the obedient handmaid.” This contrasts predecessors, Taverner deserves the with an almost breathless trio of high voices, fresh look David Skinner offers. The including two perfectly matched sopranos in early Tudor master is clearly a tran- gymel. It is in this texture that Taverner hails sitional fi gure, yet still a part of the Mary the “empress of hell” with an unusually great fl owering of English polyphony dismissive melody, perhaps indicating that the that paved the way for the late Tu- reformist within him is already taking root. dor generation. Skinner’s intellectual, FFREEREE Also notable is Taverner’s preference for the elegant approach, combined with the subdominant, and the virtuosic writing in the masterful singing of his ensemble, TTOO ACDAACDA MMEMBEEMBERRSS glorious “Amen.” serves the literature well and provides Alamire continues in the footsteps of a truly exhilarating listening experience. other contemporary European early music FFINDIND IITT AATT ensembles by employing women rather than Anne Lyman countertenors for the alto parts. The warmth Tacoma, Washington WWWW.ACDA.ORGWW.ACDA.ORG of the female alto voices fl awlessly enhances UUNDERNDER TTHEHE the full resonance with which Alamire sings. The decision only proves slightly lackluster ““PUBLICATIONS”PUBLICATIONS” in the beginning of O splendor gloriae in TTABAB which the solo alto sounds outweighed by
CHORAL JOURNAL Volume 52 Number 11 75 International Federation for Choral Music
“Connecting“Connecting a WorldWorld ofof ChoralChoral MMusic”usic”
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Through the work of a volunteer team of leading choral Who are the IFCM? professionals, the IFCM:
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76 CHORAL JOURNAL Volume 52 Number 11 What can the IFCM offer me?
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CHORAL JOURNAL Volume 52 Number 11 77
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The Choral Journal: An Index to Volume Fifty-two
by Scott W. Dorsey
SUBJECT CLASSIFICATION
The classifi cation numbers used below correspond to subject headings in all ACDA monographs utilizing bibliographic format, particularly The Choral Journal: An Index to Volumes 1-18 (Monograph No. 3) by Gordon Paine, and The Choral Journal: An Index to Volumes 19-32 (Monograph No. 7) by Scott W. Dorsey. Subject classifi cations with no entries for this volume year have been omitted from the listing. “REP.” “BIB.” and “DISC.” are abbreviations for repertoire, bibliography, and discography. A comprehensive index with appropriate annotations and cross-references of all Choral Journal articles from 1979 to 2011 is available to ACDA members online at www.acda.org.
1. Choral Composition, Arranging, Editing and Publishing
“A Publisher’s View of the Choral World,” by Alec Harris. 1/12:4.
2. Composers and Their Choral Music
“William Averitt’s Passion of Our Lord Jesus Christ According to St. Matthew,” by Jennifer Adam. 8/11:8. BIB.
“An Analysis of Sergi Rachmaninov’s All Night Vigil, ‘Now Let Thy Servant Depart’,” by Lance Morrow. 8/11:24. BIB.
“Matthew Harris’s Shakespeare Songs: The Bard’s Lyrics Meet American Popular Music,” by John M. Petzet. 8/11:34. BIB.
“Revisiting Schubert’s Mass No. 6 in E-fl at Major, D.590,” by Sean M. Burton. 8/11:51. BIB.
“Love Verses from ‘The Song of Solomon’ by Percy Granger,” by Robert J. Ward. 9/11:8. BIB. DISC.
“Percy Grainger’s Kipling ‘Jungle Book’ Cycle,” by Kenneth D. Williams. 9/11:18.
“Percy Grainger and the Phonograph: The New Science of Folk-Song Collection,” by Brent Wells. 9/11:34.
“Handel’s Ongoing Infl uence,” by David Martin. 9/11:53.
“Colonial Nationalism in the Music of William Billings,” by Joshua Armenta. 10/11:6.
“Defi ning Russian Sacred Music: Tchaikovsky’s Liturgy of St. John Chrysostom (Op.41) and Its Historical Impact,” by Zebulon M. Highben. 11/11:8.
“Joachim Linckelmann’s Arrangement of Ein Deutsches Requiem for Chamber Ensemble,” by Nathan Windt. 11/11:18.
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“Wordplay in Stravinsky’s Svadebka, Part 1” by Marika C. Kuzma. 12/11:9.
“Tarik O’Regan’s Scattered Rhymes and its Compositional Relationship to Machaut’s Messa de Notre Dame and the Music of ‘The Who,” by Cameron F. LaBarr. 2/12:8.
“Wordplay in Stravinsky’s Svadebka, Part 2,” by Marika C. Kuzma. 2/12:22.
“Molecular Music,” by Terre Johnson. 2/12:44.
“The Death of the Bishop of Brindisi by Gian Carlo Menotti,” by Julia O’Toole. 3/12:30.
“Discovering Das Klagende Lied: Mahler’s First Choral Work,” by Timothy Snyder. 3/12:6. BIB.
“Richard Wagner’s Choruses for Men’s Voice,” by Jonathan Palant. 5/12:59. BIB.
“A Copland Portrait: Memories of a Friendship and Thoughts about His Infl uence on American Choral Music,” by David Conte. 6/12:26.
“The Choral Arrangements of Alice Parker and Robert Shaw,” by Jim Taylor. 6/12:30. DISC. REP.
4. Choral Conducting and Choral Techniques: Auditioning and adjudicating
“Audition Advice and Protocol for College-Bound Musicians,” by Andrew Larson. 6/12:47.
6. Choral Conducting and Choral Techniques: Conducting technique
“The Acting Principles of Konstantin Stanislavski and Their Relevance to Choral Conducting,” by Ryan Herbert. 12/11:20.
“Maintenance of the Conducting Gesture: A Brief Checklist,” by Britt Cooper. 3/12:53.
“Focus on the Face,” by Lon Beery. 4/12:61.
“Letter to the Editor,” by Tom Carter. 5/12:7.
7. Choral Conducting and Choral Techniques: Rehearsal
“Movement in the Choral Rehearsal: The Singer’s Perspective,” by Kathryn Briggs. 12/11:28.
8. Choral Conducting and Choral Techniques: Vocal Technique, Vocal Production and Tone
“Letter to the Editor,” by Ronald A. Nelson. 9/11:7.
“Listening to the Inner-Voice: Establishing a Daily Discipline,” by Susan Carter. 11/11:43. BIB.
“Contemporary Commercial Voice Pedagogy Applied to the Choral Ensemble: An Interview with Jeannette LoVetri,” by Neal Woodruff. 12/11:39. BIB.
“World Voice Day 2012: A Mission for Choral Conductors,” by Robert T. Sataloff. 3/12:45.
80 CHORAL JOURNAL Volume 52 Number 11 “Boy’s Changing Voices: What Do We Know Now?” by Leon Thurman. 4/12:7.
“Working with Male Adolescent Voices in the Choral Rehearsal: A Survey of Research-Based Strategies,” by Rollo Dilworth. 4/12:22.
“Choral Directors are from Mars and Voice Teachers are from Venus: The Top Ten Complaints from Both Sides of the Isle (or ‘The Farmer and the Cowman Should Be Friends’),” by Sharon A. Hansen, Allen Henderson, Scott McCoy, Donald Simonson, and Brenda Smith. 4/12:51.
“Letter to the Editor,” by Kenneth Phillips. 6/12:7.
15. Choral Conducting and Choral Techniques: Repertoire Selection
“Taking Sacred Choral Music on the European Road: A Director’s Guide to Repertoire Selection,” by Nick Abbott. 3/12:57.
34. History of Choral Performance, Histories of Choral Organizations, and Biographies of Conductors
“In Memoriam: Lauretta Graetz (1936–2011).” 8/11:59.
“The Gene Brooks Collection,” by Craig Zamer. 8/11:61.
“In Memoriam: John Stirling Walker (1962–2011).” 8/11:68.
“In Memoriam: Robert H. Young (1923–2011),” by Nick Strimple. 9/11:65.
“The State of ACDA,” by Tim Sharp. 10/11:2.
“In Memoriam: Dallas Draper (1918–2011).” 10/11:54.
“Leonard Van Camp: A Legacy of Success,” by Mark Buske and Patrick K. Freer. 2/12:32.
“In Memoriam: David N. Davenport (1925–2012).” 4/12:73.
“In Memoriam: Robert E. Wright, Jr. (1945–2011).” 5/12:51.
“In Memoriam: Sandra Chapman (1946–2012).” 5/12:79.
43. Interviews
“A Conversation with Composer, Teacher, and Conductor Betty Bertaux,” by Mairee Pantzer. 10/11:16. REP.
“A Dialog between David Castleberry and Lawrence Schenbeck,” by David Castleberry. 10/11:65.
“An Interview with New York Polyphony,” by Adam Luebke and Sarah Luebke. 3/12:20.
“Using Repertoire to Teach Vocal Pedagogy in All Male Changing Voice Choirs: Conversations with Six Master Teachers,” by Drew Collins. 4/12:34. REP.
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45. Literature on, and Music for Various Types of Choruses: Women’s Voices
“A Paradigmatic Change for Women’s Choir,” by Debra Spurgeon. 4/12:62.
46. Literature on, and Music for Various Types of Choruses: Men’s Voices
“Music for Men’s Chorus by Raymond Wilding-White,” by Frank Albinder. 10/11:43.
“Real Men Sing . . . Choral Repertoire,” by Mark Lucas. 4/12:40. REP.
“The Successful Transition and Retention of Boys from Middle School to High School Choral Music,” by Patrick Freer. 5/12:8.
“A Female Teacher’s Perspective of Teaching Males in Middle and High School Chorus,” by Jana Williams. 5/12:18.
“The What, Why, and How of Young Adult Male Choirs,” by Jefferson Johnson. 5/12:28.
“An International Perspective on Male Singing in University Choir,” by Colin Durrant. 5/12:38.
47. Literature on, and Music for Various Types of Choruses: Elementary School and Children
“The Love of Song: Refl ections on the Choral Contributions of Mary Goetze,” by Angela Broeker. 12/11:55.
“The Path to the Moon,” by Terre Johnson and Ann Small. 2/12:55.
48. Literature on, and Music for Various Types of Choruses: Middle School, Junior High School, High School and Boychoir
“Weight Lifting, Singing, and Adolescent Boys,” by Patrick K. Freer. 11/11:32.
“Examining Adolescent Choral Singer’s Social Development within School Music Ensembles: Suggestions and Implications for Choral Educators,” by Elizabeth Cassidy Parker. 11/11:53.
51. Literature on, and Music for Various Types of Choruses: Church
“Letter to the Editor,” by Don Neuen. 8/11:7.
“Popular Infl uences in Recent Church Composition,” by Lawrence R. Mumford. 11/11:57.
“Youth Choir Strengthens Music Ministry,” by John L. Wilson. 4/12:71.
“A Composer and Publisher Speaks of Music Ministry,” by Joseph M. Martin. 6/12:57.
54. Literature on, and Music for Various Types of Choruses: Festivals and Festival Choirs
“Starting from Scratch: Ideas for a Successful Conference Choir,” by Heather Williams Potter. 4/12:67.
82 CHORAL JOURNAL Volume 52 Number 11 57. Educational Techniques and Philosophy
“What New College/University Faculty Members Need to Know (But May Not Know How to Ask),” by William McConnell. 11/11:51.
“The Academic Side of the Choral Classroom,” by Dianna Campbell. 12/11:57.
“Pursuing a Graduate Degree,” by Cody Duff. 5/12:69.
65. Performance Practice, Style and Interpretation: Folk, Pop, Jazz, and Rock
“Contemporary Unaccompanied Singing: Where Does it Fit in ACDA?” by Kirk Marcy. 3/12:50.
66. ACDA Activities and Other Professional News
“Congratulations to the 2011 ACDA National Student Conducting Competition Award Winners.” 9/11:30.
“Into the Spotlight: A National Conference for Middle School/Junior High Choral Music,” by Alan C. McClung. 9/11:45.
“The Middle School and Junior High National Conference for Choral Music: With a Song in My Heart,” by Gretchen Harrison. 10/11:44.
“National President-Elect Candidates.” 11/11:42, 12/11:67.
“Michael McGaghie Wins the 2010 Julius Herford Prize.” 12/11:38.
“President-Elect Candidates,” 12/11:68.
“Special Conference Issue.” 1/12.
“The ACDA National Symposium on American Choral Music: The Search for an American Style,” by John Silantien. 6/12:22.
“The Early History of the National Committee on Children’s Choirs (1981-95),” by Barbara M. Tagg. 6/12:45.
69. Reference Materials: Bibliographies of Literature on Choral Music
“New Voices in Research from the ACDA National Conference’s Poster Sessions,” by Magen Solomon. 10/11:49.
“The Center for Black Music Research: Invaluable Choral Resource,” by Sharon Davis Gratto. 2/12:43.
“Building Your Community Choir Reference Library,” by Ron Sayer. 3/12:49.
“The Choral Journal: An index to Volume 52,” by Scott W. Dorsey. 6/12:79.
70. Reference Materials: Bibliographies and Lists of Choral Music
“Where Did You Find That Piece? Finding Repertoire in the Digital Age: A Guide to Online Resources for Choral Directors,” by C.J. Redden-Liotta. 2/12:47.
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71. Book Reviews
Music and the Wesleys, edited by Nicholas Temperley and Stephen Banfi eld. Stephen Town, reviewer. 9/11:55.
The Choir and How to Direct It, by Pavel Chesnokov. Translated by John C. Rommereim. Tim Sharp, reviewer. 9/11:57.
The Choir and How to Direct It, by Pavel Chesnokov. Translated by John C. Rommereim. Ian Loeppky, reviewer. 9/11:62.
A Handbook to Twentieth-Century Musical Sketches, edited by Patricia Hall and Sallis Friedemann. Stephen Town, reviewer. 10/11:57.
Monuments of Russian Sacred Music: Alexandre Gretchaninoff Collected Sacred Choral Works, edited by Vladmir Morosan. Ian Loeppky, reviewer. 10/11:60.
Mentoring in the Ensemble Arts: Helping Others Find Their Voice, by Tim Sharp. Stephen Town, reviewer. 10/11:61.
Teaching Music through Performance in Choir, Volume III, edited by Heather J. Buchanan and Matthew W. Mehaffey. Stephen Town, reviewer. 11/11:59.
Teaching Music through Performance in Middle School Choir, edited by Frank Abrahams and Paul D. Head. Stephen Town, reviewer. 11/11:61.
The Wow Factor: How to Create It, Inspire It, and Achieve It, by Steve Zegree. David Rentz, reviewer. 11/11:64.
Vaughn Williams and the Symphony by Lionel Pike. Stephen Town, reviewer. 12/11:61.
The Revised Grail Psalms: A Liturgical Psalter. Stephen Town, reviewer. 12/11:62.
Letters of Vaughn Williams 1895–1958, edited by Hugh Cobbe. Stephen Town, reviewer. 12/11:65.
Conducting Choirs, Volume 1: The Promising Conductor—A Practical Guide for Beginning Choral Conductors, by David P. DeVenney. Vance D. Wolverton, reviewer. 2/12:57.
Conducting Choirs, Volume 2: Music for Classroom Use—A Comprehensive Collection of Musical Examples Including Performance CD for Practice and Study, by David P. DeVenney. Vance D. Wolverton, reviewer. 2/12:57.
Conducting Choirs, Volume 3: The Practicing Conductor—An Exploration of Advanced Topics Relevant to Working Choral Conductors, by David P. DeVenney. Vance D. Wolverton, reviewer. 2/12:57.
Evoking Sound: Fundamentals of Choral Conducting (second edition), by James Jordan. Ian Loeppky, reviewer. 2/12:61.
Hans von Bülow: A Life and Times, by Alan Walker. Nelly Matova, reviewer. 2/12:61.
The Student Voice (An Introduction to Developing the Singing Voice), by Colin Baldy. Randall Wolfe, reviewer. 3/12:61.
The Solo Singer in the Choral Setting, by Margaret Olson. Donald Callen Freed, reviewer. 3/12:62.
Becoming a Choral Music Teacher (A Field Experience Workbook), by Patrice Madura Ward-Steinman. Randall Wolfe, reviewer. 3/12:64.
Inside the Elementary School Chorus: Instructional Techniques for the Non-Select Children’s Chorus, by Patricia Bourne. Gregory M. Pysh, reviewer. 4/12:75.
84 CHORAL JOURNAL Volume 52 Number 11 Educating Young Singers, by Mary Goettze, Angela Broeker, and Ruth Boskhoff. Gregory M. Pysh, reviewer. 4/12:76.
Choral Music in the Nineteenth Century, by Nick Strimple. David Rentz, reviewer. 4/12:78.
Polymath of Music and Letters, by Paul-André Benpéchat and Jean Cras. Donal Callen Freed, reviewer. 6/12:61.
Songs in Their Heads: Music and Its Meaning in Children’s Lives (Second Edition), by Patricia Shehan Campbell. Eva Floyd, reviewer. 6/12:62.
The Musician’s Breath: The Role of Breathing in Human Expression, by James Jordan with Mark Moliterno and Nova Thomas. Sandra Howard, reviewer. 6/12:64.
72. Recording Reviews
Musica SacraHungarica: Sacred Choral Music from the Twentieth Century. Budapesti Monteverdi Kórus; Éva Kollár, conductor. Dirk Johnson, reviewer. 9/11:67.
Igor Stravinsky: Monumentum. Collegium Vocale Gent; Philippe Herreweghe, conductor. David Castleberry, reviewer. 9/11:68.
Sweelinck: Psaumes Français and Cantones Sacrae. Cappella Amsterdam; Daniel Reuss, conductor. Sean Burton, reviewer. 9/11:69.
Evensong at New College, Oxford. The Choir of New College, Oxford; Edward Higgenbottom, conductor. Richard A.A. Larraga, reviewer. 2/12:65.
Josquin des Prez: Missa Pange Lingua; O virgo virginum, and other motets. Kammerchor Josquin des Préz; Ludwig Böhme, conductor. Anne Lyman, reviewer. 2/12:65.
Songs of Ascention. Meredith Monk and Vocal Ensemble, Montclair State University Singers. David Rentz, reviewer. 2/12:66.
Henry Desmarest: Grand Motets. Le Concert Spirituel; Hervé Niquet, conductor. David Puderbaugh, reviewer. 2/12:66.
Trinity Requiem: Robert Moran. Trinity Youth Chorus and members of Trinity Choir, Trinity Wall Street; Robert Ridgell, conductor. Musica Sacra; Richard Westenburg, conductor. The Esoterics; Eric Banks, conductor. Cameron F. Labarr, reviewer. 2/12:68.
Rise Heart: Romantic English Choral Works. Worchester Cathedral Chamber Choir; Stephen Shellard, conductor. Philip Barnes, reviewer. 2/12:69.
Heinrich Ignaz Franz Bieber: Vesperar Longiores ac breviores. Yale Schola Cantorum; Simon Carrington, conductor. Brian E. Katona, reviewer. 3/12:67.
Johannes Brahms: Secular Choral Songs. RIAS Kammerchor; Marcus Creed, conductor. Gary Seighman, reviewer. 3/12:67.
Johannes Eccard: Preussische Festlieder. Vocal Concert Dresden, Capella de la Torre; Peter Kopp, conductor. Vicente Chavarria, reviewer. 3/12:68.
Into Thy Hands: The Music of the Grosvenor Chapel. The Choir of the Grosvenor Chapel, London; Richard Hobson, conductor. Rich Bruner, reviewer. 3/12:70.
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Mythos 116: Psalm 116, Compositions from the 17th and 21st Centuries. Calmus Ensemble. Garrett Saake, reviewer. 3/12:71.
J. S. Bach: Mass in B Minor, BWV 232. Cappella Amsterdam; Frans Bruggen, conductor. Lawrence Schenbeck, reviewer. 3/12:72.
The Christmas Story. Theatre of Voices, Ars Nova Copenhagen; Paul Hillier, conductor. David Puderbaugh, reviewer. 3/12:73.
Leonard Bernstein Conducts Bach and Stravinsky. English Bach Festival Choir and Orchestra, Trinity Boys Choir; Leonard Bernstein, conductor. Robert Chambers, reviewer. 4/12:81.
In the Beginning. Choir of Merton College, Oxford; Benjamin Nicholas and Peter Phillips, conductors. Allen Clements, reviewer. 4/12:81.
Heinrich Schütz: Italienische Madrigale. Dresdner Kammerchor; Hans-Christoph Radermann, conductor. Michael Porter, reviewer. 4/12:83.
Sing Freedom! African-American Spirituals. Conspirare; Craig Hella Johnson, conductor. Bryson Mortensen, reviewer. 4/12:85.
Songs of the Baltic Sea. National Youth Choir of Great Britain; Mike Brewer, conductor. David A. McConnell, reviewer. 4/12:86.
The Great American Folk Song. Children’s Choir of Washington; Joan Gregoryk, conductor. Amanda Lippert, reviewer. 4/12:87.
Johann Christoph Bach: Welt, gute Nacht. English Baroque Soloists; John Eliot Gardner, conductor. Fred Kiser, reviewer. 4/12:87.
A Year at York. The Choir of York Minster; Robert Sharpe, conductor. Steven R. Gibson, reviewer. 6/12:71.
That Eternal Day. Cantus. Matthew Smyth, reviewer. 6/12:72.
Johannes Eccard: Frölich will ich singen. Staats- und Domchor Berlin and Lautten Comagney Berlin; Kai-Uwe Jirka, conductor. David Rentz, reviewer. 6/12:72.
John Taverner: Choral Ikons. The Choir; James Whitburn, conductor. Jeremiah Cawley, reviewer. 6/12:72.
Peter Philips: Cantiones Sacrae Quinis et Octonibus Vocibus. The Sarum Consort: Andrew Mackay, conductor. Philip Barnes, reviewer. 6/12:73.
Heinrich Schütz: Musikalische Exequien; Undandere Trauergesänge. Dresdner Kammerchor; Hans-Christoph Rademann, conductor. Mark Falk, reviewer. 6/12:74
John Taverner: Imperatrix inferni. Alamire; David Skinner, conductor. Anne Lyman, reviewer. 6/12:74.
74. Choral Activities in the USA and Abroad
“Choral Music in the White House,” by Donald Trott. 6/12:8.
“Choral Music in the White House: An Afterword,” by Donald Oglesby. 6/12:18.
86 CHORAL JOURNAL Volume 52 Number 11 AUTHOR INDEX
- A - Herbert, Ryan, 12/11:20 Pysh, Gregory M., 4/12:75, 4/12:76 Highben, Zebulon M., 11/11:8 Redden-Liotta, C.J., 2/12:47 Abbott, Nick, 3/12:57 Howard, Sandra, 6/12:64 Rentz, David, 11/11:64, 2/12:66, 4/12:78, Adam, Jennifer, 8/11:8 6/12:72 Albinder, Frank, 10/11:43 - J, K- Armenta, Joshua, 10/11:6 -S- Johnson, Jefferson, 5/12:28 - B - Johnson, Terre, 2/12:44, 2/12:55 Saake, Garrett, 3/12:71 Katona, Brian E., 3/12:67 Sataloff, Robert T., 3/12:45 Barnes, Philip, 2/12:69, 6/12:73 Kiser, Fred, 4/12:87 Sayer, Ron, 3/12:49 Beery, Lon, 4/12:61 Kuzma, Marika C., 12/11:9, 2/12:22 Schenbeck, Lawrence, 3/12:72 Briggs, Kathryn, 12/11:28 Seighman, Gary, 3/12:67 Broeker, Angela, 12/11:55 Sharp, Tim, 9/11:55, 10/11:2 Bruner, Rich, 3/12:70 - L, M - Silantien, John, 6/12:22 Burton, Sean M., 8/11:51, 9/11:69 LaBarr, Cameron F., 2/12:8, 2/12:68 Simonson, Donald, 4/12:51 Buske, Mark, 2/12:32 Larraga, Richard A.A., 2/12:65 Small, Ann, 2/12:55 Larson, Andrew, 6/12:47 Smith, Brenda, 4/12:51 - C - Lippert, Amanda, 8/12:87 Smyth, Matthew, 6/12:72 Loeppky, Ian, 9/11:62, 10/11:60, 2/12:61 Campbell, Dianna, 12/11:57 Snyder, Timothy, 3/12:6 Lucas, Mark, 4/12:40 Carter, Susan, 11/11:43 Solomon, Magen, 10/11:49 Luebke, Adam, 3/12:20 Carter, Tom, 5/12:7 Spurgeon, Debra, 4/12:62 Luebke, Sarah, 3/12:20 Castleberry, David, 9/11:68, 10/11:65 Strimple, Nick, 9/11:65 Lyman, Anne, 2/12:65, 6/12:74 Cawley, Jeremiah, 6/12:72 Marcy, Kirk, 3/12:50 Chambers, Robert, 4/12:81 -T, U, V - Martin, David, 9/11:53 Chavarria, Vicente, 3/12:68 Martin, Joseph M., 6/12:57 Tagg, Barbara M., 6/12:45 Clements, Allen, 4/12:81 Matova, Nelly, 2/12:61 Taylor, Jim, 6/12:30 Collins, Drew, 4/12:34 McClung, Alan C., 9/11:45 Thurman, Leon, 4/12:8 Conte, David, 6/12:26 McConnell, David A., 4/12:86 Town, Stephen, 9/11:55, 10/11:57, 10/11:61, Cooper, Britt, 3/12:53 McConnell, William, 11/11:51 11/11:59, 11/11:61, 12/11:61, 12/11:62 McCoy, Scott, 4/12:51 Trott, Donald, 6/12:8 - D, E, F, G - Morrow, Lance, 8/11:24 Dilworth, Rollo, 4/12:22 Mortensen, Bryson, 4/12:85 -W, X- Dorsey, Scott W., 6/12:79 Mumford, Lawrence R., 11/11:57 Ward, Robert J., 9/11:8 Duff, Cody, 5/12:69 Wells, Brent, 9/11:34 Durrant, Colin, 5/12:38 - N, O, P - Williams, Jana, 5/12:18 Falk, Mark, 6/12:74 Williams, Kenneth D., 9/11:18 Floyd, Eva, 6/12:62 Nelson, Ronald A., 9/11:7 Wilson, John L., 4/12:71 Freed, Donald Callen, 3/12:62, 6/12:61 Neuen, Don, 8/11:7 Windt, Nathan, 11/11:18 Freer, Patrick K., 11/11:32, 2/12:32, 5/12:8 O’Toole, Julia, 3/12:30 Wolfe, Randall, 3/12:61, 3/12:64 Gibson, Steven R., 6/12:71 Oglesby, Donald, 6/12:18 Wolverton, Vance, 2/12:57, 2/12:57, 2/12:57 Gratto, Sharon Davis, 2/12:43 Palant, Jonathan, 5/12:59 Pantzer, Mairee, 10/11:16 Woodruff, Neal, 12/11:39 - H - Parker, Elizabeth Cassidy, 11/11:53 Petzet, John M., 8/11:34 Hanson, Sharon A., 4/12:51 Phillips, Kenneth, 6/12:7 -Y, Z- Harris, Alec, 1/12:4 Porter, Michael, 4/12:83 Zamer, Craig, 8/11:61 Harrison, Gretchen, 10/11:44 Potter, Heather Williams, 4/12:67 Henderson, Allen, 4/12:51 Puderbaugh, David, 2/12:66, 3/12:73 ChoralChoral Reviews Reviews ACDA Advocacy Resolution Choral Reviewers WHEREAS the human spirit is elevated to a broader understanding of itself Members wishing to through study and performance in the aesthetic arts, and review choral music should contact:
WHEREAS serious cutbacks in funding and support have steadily eroded state Steven Grives institutions and their programs throughout our country, 605-688-4616 BE IT RESOLVED that all citizens of the United States actively voice their [email protected] affirmative and collective support for necessary funding at the local, state, and national levels of education and government, to ensure the survival of arts programs for this and future generations. Book Reviewers Members wishing to review books about choral music should contact: Article Submission Information Stephen Town Articles submitted for publication in the Choral Journal should meet established 660/562-1795, specifications. Although the length of articles varies considerably, submissions [email protected] generally consist of ten to twenty typed, double-spaced pages. Referenced material should be indicated by superscript and end- notes. Any artwork and a one- to two-sentence professional identification of the author should also be Compact Disc Reviewers included. Complete writer’s guidelines can be found on the ACDA Web site at Members wishing to review
Book and music publishers and compact disc distributors send books, David Puderbaugh octavos, and discs for review to: 319-335-1627 Choral Journal [email protected] 545 Couch Drive, Okla. City, Oklahoma 73101 Telephone: 405/232-8161
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88 CHORAL JOURNAL Volume 52 Number 11 Experience
:HRIIHURYHU\HDUV¶H[SHULHQFHFUHDWLQJFXVWRPFRQFHUW WRXUVWKURXJKRXWWKHZRUOG8QLTXHO\DOORIRXU7RXU 0DQDJHUVDUHDFFRPSOLVKHGPXVLFLDQVZKRXQGHUVWDQGWKH VSHFLDOQHHGVRIHQVHPEOHVRQWRXU0DQ\VDWLV¿HGHQVHPEOHV ACFEA is an outstanding organization – attentive to detail, enterprising UHWXUQ\HDUDIWHU\HDUNQRZLQJWKDWZHFDQSURYLGHWKHPZLWK and creative in tour itinerary and DPHPRUDEOHH[SHULHQFHHYHU\WLPH concert venues with a staff of first-rate professionals. Robert Russell, Music Director University of Southern Maine Chamber Singers
Amazing and historic venues, utmost attention to details and a comprehensively planned tour make it a true delight to work and travel with ACFEA. As a director, it is so comforting to be able to relax and enjoy a tour, rather than being buried in all the logistical nuts and bolts. Thank you ACFEA for once again providing a memorable and successful international tour experience for my singers and me! Kevin Tison, Director Fountain Valley High School Troubadours
The tour was remarkably well-planned across the board. My compliments to everyone involved. Although Miami U has used ACFEA for many tours, this was my first trip with ACFEA and I will definitely be inquiring about future tours. Thank you all very much for helping us create a great experience! Ethan Sperry, Director Miami University Choir
800-627-2141 ACFEA Tour Consultants
Photos: Grace Cathedral Choir of Men and Boys in Westminster Abbey in London; 123 Second Avenue S., Suite 105 Davidson United Methodist Church Choir in Eglise Sacre Coeur in Lourdes, France; Edmonds, WA 98020 Seattle Girls’ Choir in Dom zu Salzburg; Anima spends time with students at the Ukhanyo Primary School near Cape Town, South Africa www.acfea.com . email: [email protected] CST 2063085-40 . WST 601 273 533 American Choral Directors Association 545 Couch Drive Oklahoma City, Oklahoma 73102