I . • '1999IHERITAGE FE~TI\fAI..S> '. 'MARCH25~28 oAnaheim . '.. ···SaniFdiricisco.!··.··. ) .• ' :.oWashiiigton.D.Y. ~.... .•... ·:;;~~~~~i~-t1·······I~·· f/ .:>:t~~~~~~as·l .' /{;' ...... ··Nashville ~•. ' .•• [:;·!<~~Ri:~e8t%n,;iD~·i··. f:~:~~~:-;'-·: '-'-...... -, ,~>_-._:,:;.-~ ...' c.">-.>.-r ..:: ~";' ~i·ftrh~~~f~~J1Qt,· l,';);oBostoh.).> !: ... ;.··C~iCa.go··.!. ; •.•.... ' oCoioradoSpriHQt3 LjL~s\legas . ! . ~~. New '(0 rkCity i. -.: ." '.-, ·'·.Orlando' .. --, ! ..•.... o San' Antonio·J .. ) ";;,: ~.~san:-Fblncfsc-ol.j- (;i:: .. ·StLQuis· : [,;.~Tor()No .. i '.' ..' "JAPRiIL22~251"> r?~ ·Anaheim ...•. j ~Chicago ! o ColoradoSprirjgs • Houston : • New Orleans • Orlando • San Diego • Seattle • St. Louis • Toronto • Washington, D.C. APRIL 29 - MAY 2 • Anaheim • Chicago o Cincinnati • Las Vegas • Montreal • New Orleans : • New York City • Orlando • San Francisco: o Vancouver I • Williamsburg I SPIECIAl FIESTIVAlS

MAY 6-9 f West Coast Children's Choir Festival • Anaheim I' • Boston Anaheim - April 22-25 • Chicago 1 , East Coast • Minneapolis i Children's Choir Festival • San FranciscO: Valley Forge - May 6-9 • Seattle ! • Toronto Royal london I International Festival 13-16 : London - April 3-7 National Invitational Choral Festival Festival of Gold Washington D.C. - April Official Publication of the American Choral Directors Association Volume Thirty-eight Number Ten

CHORALJO John Silantien Ann Easterling EDITOR INTERIM MANAGING EDITOR

COLUMNS ARTICLES From the Executive Director ...... 2 From the President ...... 3 's From the Editor ...... 4 Seven Gates ofJerusalem ...... 9 Research Report ...... 61 by Ray Robinson Christine D. de Catanzaro, editor Musica Practica ...... 65 Nina Gilbert, editor Compact Disc Reviews ...... 73 Richard]. Bloesch, editor Na PClirer!. Polski l\Iikohii.i. Gum A Monument of the Polish Book Reviews ...... 81 "czyniulll~. Stephen Town, editor Renaisssance: Choral Reviews ...... 85 MikoXaj Gom6Xka's Psalter .. 15 Corydon]. Carlson, editor by Leslie Guelker-Cone

Repertoire and Standards Committee Reports ...... 33 ACDA Student Conducting Awards Guidelines/Application ... 37 1999 Honor Choir Applications ... 41 Breaking the Silence: 1998 Summer Festivals Choral Music of the and Workshops ...... 47 Baltic Republics. Newsbriefs ...... 58 Part III: ...... 23 In Memoriam ...... 58 by Vance Wolverton Index to the Choral Journal Volume Thirty-eight ...... :.. 97 Advertisers Index ...... lO4 REHEARSAL BREAI(S It's a Major-Key World ...... 31 Cover art, designed by Lynn Snyder, depicts a miniature by Nancy Cobb of pilgrims entering Jerusalem, from Passages d'Outremer, fifteenth century. Used by permission of the Bibliotheque Narionale de France.

MAY 1998 PAGE 1 FROM THE AFFILIATED EXECUTIVE DIRECTOR ORGANIZATIONS

INDIANA New Editor Appointed CHORAL DIRECTORS ASSOCIATION HIS ISSUE of the Choral Journal concludes this volume year; it is also the end President - Daniel H. Graves 209 South Sixteenth Street of John Silantien's tenure as editor. We appreciate all John has done to bring Richmond, Indiana 37374 the Journal to its current level of excellence and wish him well as he returns to T Treasurer - PaulaJ. Alles the classroom and conductor's podium after a year's sabbatical from the University of 1471 Altmeyer Road Texas at San Antonio. Jasper, Indiana 47546 It is with great pleasure that we announce Wesley Coffman has agreed to serve as IOWA editor of the Choral JournaL He so ably served in that capacity for the September CHORAL DIRECTORS ASSOCIATION President - Bruce Chamberlain 1985 through August 1989 issues. Wesley recently retired as Dean of the School of 1211 Oak Park Boulevard Music at Hardin-Simmons University, Abilene, Texas. A longtime ACDA member, Cedat Falls, Iowa 50613 he now resides in Dallas. In addition to his recently assumed editorial duties, Wesley Secretary/Treasurer - Bruce A. Norris serves on ACD.A:s Archives Committee. He is excited about leading the Choral 404 Maple Street Mondamin, Iowa 51557 Journal into the twenty-first century. AMERICAN CHORAL DIRECTORS The managing editor's position became vacant when Jack Kilgore left the Choral ASSOCIATION OF MINNESOTA Journal at the end of February. Ann Easterling, assistant to the managing editor since President - David Dickau 104 Manchester Court August 1995, is now interim managing editor. Susan Gower, who has worked with Mankato, Minnesota 56001 John for the past year as production manager, will continue in that position in San Treasurer - Susan Zemlin Antonio. We know this current team will ensure that each month you receive a 1029 Paul Parkway, NE, #304 magazine you will read and reread. Blaine, Minnesota 55434 As things slow down for many of you during the summer months, allowing for a MONTANA well-deserved rest, the national office staff and ACDA leadership continue to work CHORAL DIRECTORS ASSOCIATION President - Marco Ferro on the 1999 national convention. We are looking forward to another record-breaking Box 454 convention. Thanks to everyone who submitted an audition tape, a student composi­ Malta, Montana 59538 tion, or an interest session proposal. You will find information about the ACDA Treasurer - Larry Swingen Student Conducting Awards and honor choirs scheduled for the national convention 216 Eighth Avenue SW Sidney, Montana 59270 on pp. 37-46 of this issue. Your continued interest ensures that the 1999 convention NEBRASKA will be a showcase for the choral art. Future columns will feature the people instru­ CHORAL DIRECTORS ASSOCIATION mental in planning and carrying out the convention. President - James F. Hejduk Westbrook Music Building Gene Brooks Universiry of Nebraska Lincoln, Nebraska 68588 Treasurer - Mark Butler 1014 Arthur Street Holdrege, Nebraska 68949 OHIO CHORAL DIRECTORS ASSOCIATION President - Craig Johnson Music Department, Otterbein College . Westerville, Ohio 43081 Treasurer - Bob Hartigan STATEMENT OF MEMBERSHIP 8770 Landen Drive The American Choral Directors Association is a nonprofit professional organization of choral directors Maineville, Ohio 75038 from schools, colleges, and universities; community, church, and professional choral ensembles; and industry and institutional organizations. Choral Journal circulation: 18,000. Annual dues (includes TEXAS subscription to the Choral Journa~: Active $55, Industry $1 ~O, Institutional $75, Retired $25, and CHORAL DIRECTORS ASSOCIATION Student $20. One-year membership begins on date of dues acceptance. Library annual subscription President - Marsha Carlisle rates: U.S. $25; Canada $35; Foreign Surface $65; Foreign Air $75. Single Copy $3; Back Issue $4. 10318 Royal Coach ACDA is a founding member of the International Federation for Choral Music. San Anronio, Texas 78239 ACDA supports and endorses the goals and purposes of CHORUS AMERICA in promoting the excellence of choral music throughout the world. Treasurer - Kelly Moore ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. 4021 Timberidge Drive Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational Irving, Texas 75038 purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. WISCONSIN The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. CHORAL DIRECTORS ASSOCIATION Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with President - Richard 1. Bjella these laws is a condition of participation by clinicians and performing groups at ACDA meetings and conventions. 3011 West Heritage Avenue Appleton, Wisconsin 54914 © 1998 by the Amencan Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: 580/355-8161. All nghts reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except June and July. Secretary/Treasurer - Ronald C. Bucldes Pnnted in the United States of America. 18723 67th Avenue ~ Periodicals postage paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address Chippewa Falls, Wisconsin 54729 EdPless changes to Choral Journal, P.O. Box 6310, Lawton, Oklahoma 73506-0310.

Volume Thirty-eight Number Ten

PAGE 2 CHORAL JOURNAL NATIONAL FROM OFFICERS THE PRESIDENT PRESIDENT James A. Moore School of MM!~~h~[e i:::: ~5aC;~t University The Joy ofSinging 903/935-7963 (voice); 903/938-0390 (fax) CHORAL conductors, our purpose is to provide meaningful musical experi­ [email protected] s ences for our singers. Can we find ways, however, to broaden our outreach, to VICE-PRESIDENT Lynn \"\'bitten foster the joy of singing in all people at all levels of society? The peoples of the College of Music. University of Colorado A Boulder, Colorado 80309 world may never realize perfect ensemble or balance in societies or governments, but 303/494·6648 (voice); 303/492-5619 (f.. ,) [email protected] we can all strive for harmony and blend through a love of music and a joy of singing. PRESIDENT-ELECT Milburn Price The greater this influence prevails, the lesser the likelihood of violence and strife in the School of Music, Samford University Birmingham. Alabama 35229 world. A joyful singer is a joyful person. The joy 205/870-2778 (voice); 205/870-2165 (fax) [email protected] .found in singing can represent the joy to be TREASURER found in living. Ma.xJne Asselin Music Deparement. Bridgewater Srare College Bridgewater. Massachusens 02325 508/697-1377 (voice); 508/697-1729 (fax) [email protected] Renewal . EXECUTIVE DIRECTOR Gene Brooks The conclusion of a school year is a time of P.O. Box 6310, Lawwn, Oldahoma 73506 580/355-8161 (voice); 580/248-1465 (fax) reflection, affirmation, and renewed vision for [email protected] the future. The sounding of the last chord and CENTRAL DIVISION PRESIDENT Thomas J. Stauch the review of the final concert offer an ideal Harper College . 1200 West Algonquin Road opportunity to evaluate the improvement in a Palatine, Illinois 60067 847/925-6566 (voice); 847/925-6039 (fax) choir's performance, the growth of singers' mu­ rjsra@aoLcom sicianship, and the value of the musical experi­ EASTERN DIVISION PRESIDENT Michele Holt ence shared by conductor and choir. We otten Stonington High School 176 South Broad Street respond to the ups and downs felt within a day, Pawcatuck. Connecticut 06379 203/599-5781 (voice); 203/599-5784 (fax) a week, or a month. Only the picture of the [email protected] entire year, however, can provide a proper per­ NORTH CENTRAL DIVISION PRESIDENT Lauretta Graetz spective. Review carefully. Perhaps you have led your choirs to greater accomplish­ 2706 River \Voods Lane Burnsville. Minnesota 55337 ments than you had anticipated. Affirming the results of your effort will quickly ignite 612/894-3707 (voice) [email protected] the excitement to look for new music, share ideas with colleagues, and attend your NORTHWESTERN DIVISION PRESIDENT state convention, a workshop, or a seminar. Thomas A. Miller Warner-Pacific College Our work as choral musicians is regenerative. For this we can be grateful. In the 2219 SE Sixty-eighth Street Porrland, Oregon 97215 best-seller, The Seven Habits ofHighly Effective People, Steven Covey lists his seventh 503/788-7473 (voice); 503/775-8853 (fax) I [email protected] recommended habit as self-renewal. He states that the most important investment we SOUTHERN DIVISION PRESIDENT can make in life is the investment in ourselves. We are the instruments of our own Donald Trott Music Department. Longwood College performance, and to be effective we must pursue a process that includes self-renewal in Farmville. Virginia 23909 804/395-2500 (voice); 804/395-2149 (fax) all four dimensions of our nature: physical, spiritual, mental, and social/emotional. dtrott@long-. ... ood.1wc.edu

SOUTHWESTERN DIVISION PRESIDENT Renewal is the principal process that empowers us to move on an upward spiral of John Yarrington P.O. Box 250768 growth, change, and continuous improvement. Best wishes to each ACDA member Little Rock. Arkansas 72225 5011664-3600 (voice) for a summer of rest and renewal. dr;[email protected] WESTERN DIVISION PRESIDENT Thomas Davies Music Department California Polytechnic State University San Luis Obispo. California 93407 James A. Moore 805/756-1548 (voice); 8051756-7464 (fax) [email protected] INDUSTRY ASSOCIATE REPRESENTATIVE Kent Smith Heritage Fesdvals P. O. Box 571187 Salt Lake City, Utah 84157 801/263-3445 (voice); 8011265-2314 (f.. x) [email protected] ChRRE~TION PAST PRESIDENTS COUNCIL John Haberlen In the March 1998 .issne ofC1Lo"fLlJoum~l, the VoiceCareNehvorksuhnrltted· School of Music. Georgia State University University Plaza the wrong ad (p .C2). The.eorrectinfol'Illatipnislisted inthisissn~iIi '~1998 404/651-~6~6(~~~;n~47~g~:1542 (fax) Festivals and Workshops;"hegmning oripage .47. The correctdatesareJWr [email protected] 10~17, St. John's University; Collegeville, Miilllesota,and July24S:.31,:S:olliri? Maurice Casey Colleen J. Kirk College, Roanoke, Virginia. ..". . Harold A. Decker Theron Kirk William B. Hatcher Diana J. Leland Morris D. Hayes Russell Mathis Charles C. Hirr H. Royce Saltzman Warner Imig Hugh Sanders Elwood J. Keister David Thorsen

MAY 1998 PAGE 3 FROM EDITORIAL THE EDITOR BOARD

EDITOR The State ofChoral Journalism John Silantien P. O. Box 640 Helotes, Texas 78023 H 0 RTLY AFTER assuming the editorship of the Choral Journal six years ago, I 210/495-0833 (voice); 210/495-0838 (fax) interviewed editors of four choral publications to determine the state of choral [email protected] Sjournalism in America. The cover of the Choral Journal issue in which the ASSOCIATE EDITOR Nina Gilbert interviews appeared (September 1992) pictures a fashionable young couple on a University of California-Irvine street corner reading Voice and Chorus! magazines. A news seller is hawking the Music 292, Building 714 Irvine, California 92697 American Choral Review and the International Choral Bulletin, and the corner news­ 714/824-3854 (voice); 714/824-4914 (fax) stand contains such fictitious publications as Bon Choeurs!, Choral Enquirer, Scream [email protected] Magazine, and ' Week. Though choral publications have not achieved the INTERIM MANAGING EDITOR Ann Easterling ubiquitous status of the popular media, the state of the industry continues to be P.O. Box 6310 Lawton, Oldahoma 73506 healthy. 580/355-8161 (voice); 580/248-1465 (fax) Building on the foundation laid by previous Choral Journal editorial teams, we [email protected] have accomplished much over the past six volume years. Those accomplishments EDITORIAL ASSISTANT Susan Gower include beginning desktop publication with the August 1992 issue; winning an Ozzie P. O. Box 640 Helotes, Texas 78023 award for the journal's redesign; inauguration of new features such as Rehearsal 210/495-0833 (voice); 210/495-0838 (fax) Breaks, In Retrospect, CD Reviews, Hallelujah!, and Technology for the Choral [email protected] Director; reviving Literature Forum; creation of more frequent special focus issues; EDITORIAL BOARD MEMBERS Richard J. Bloesch the practice of keying the cover design to the lead article; and instituting the use of School of Music, University ofIowa copyeditors, editorial board term limits, and a formal process for selecting editorial Iowa City, Iowa 52242 [email protected] board members. This issue announces a new initiative-the Choral Journal Writing David 1. Brunner Fellows Program (see p. 96), which is designed to increase the quality and quantity of Department of Music, University of Centro I Florida P.O. Box 161354 article submissions to the publication. Other projects are in the planning stages, and Orlando, Florida 32816 they are now in the capable hands of our new editor, Wesley Coffman. [email protected] Corydon J. Carlson Our need for new volunteer copyeditors continues. Those wishing to serve the P. O. Box 9517 Choral Journal in this capacity should send a resume and a sample of their writing to Bolton, Connecticut 06043 Wesley Coffman, 4023 Wembley Terrace, Dallas, Texas 75220. Christine D. de Catanzaro School of Music, Georgia State University I have thoroughly enjoyed serving as editor of the journal. I will miss the daily University Plaza Atlanta, Georgia 30303 contact with leading choral musicians around the country, the feedback from readers, [email protected] getting to know the exceptional people in ACDA leadership positions, and the Sharon A. Hansen Department of Music, School of Fine Arts excitement of helping to set the agenda for choral discourse in the U.S., on both University of Wisconsin-Milwaukee scholarly and practical levels. I thank the editorial board and ACDA officers for their P.O. Box 413 Milwaukee, Wisconsin 53201 strong support during my tenure as editor and look forward to continued involve­ [email protected] ment in the work of ACDA. Victoria Meredith Faculty of Music, Talbot College John Silanlien University of Western Ontario London, Ontario.N6A 3K7, Canada [email protected] Robert Provencio California State University-Bakersfield 9001 Stockdale Highway Kapelhneister Choir Stools Bakersfield, California 93311 [email protected] Custom Designed & Built Lawrence Sehenbeek Department of Music, Box 316 Single & Double Height S!,elman College 350 Spelman Lane SW Choir Stools Atlanta, Georgia 30314 [email protected] Timothy W. Sharp School of Music, Belmont University Nashville, Tennessee 37212 [email protected] Stephen Town Department of Music Northwest Missouri State University Maryville, Missouri 64468 [email protected]

COORDINATOR OF STATE NEWSLETTERS Perry White Kapellmeister Enterprises, Inc. 2726 S. Pickard Ave. Norman, Oldahoma 73072 59932 Tamarack Dr. - St. Helens, Oregon 97051-(503) 397-4773 [email protected]

PAGE 4 CHORAL JOURNAL NATIONAL R&S CHAIRS

NATIONAL CHAIR Barbara T agg 215 Crouse College Syracuse University Syracuse. New York 13244 315/443:5750 (voice); 315/488-1155 (hx) [email protected] BOYCHOIR Darrell James Salem Boys Choir 4373 Marker Sm:cr NE Salem, Oregon 9730 I 503/399-1364 (voice); 503/587-9208 (fax) [email protected] CHILDREN'S CHOIRS Debornh A. Mello 435 Ridge Road Newton, New Jersey 07860 973/383-4323 (voice); 973/383-8066 (fax) [email protected] COLLEGE AND UNIVERSITY CHOIRS William McMillan Department of Music Universh:y ofTe.xas at EI Paso EI Paso, Texas 79968 915/747-6630 (voice) [email protected] COMMUNITY CHOIRS Bill Diekhoff 5019 Hermitage Drive Anderson. South Carolina 29625 864/287-2236 (voice); 864/261-3399 (fax) [email protected] ETHNIC AND MULTICULTURAL PERSPECTIVES Anthony T. Leach Pennsylvania State University University Park. Pennsylvania 16802 814/865-6521 (voice); 814/865-7140 (fax) at! [email protected] JAZZ AND SHOW CHOIRS Diana R. Spradling \xres[ersct;~t!fM~~ver5iry Kalamazoo, Michigan 49008 616/387-4751 (voice) [email protected] JUNIOR HIGH/ MIDDLE SCHOOL CHOIRS Kathleen Anderson 1551 Parkview Avenue San Jose, California 95130 650/526-3570 x447 (voice); 650/965-9278 (fax) ffiC\[email protected] MALE CHOIRS Clayton Parr Department of Music. Miami Universiry 201 North College Ave. Oxford, Ohio 45056 513/529-3075 (voice); 513/529-3027 (fax) Packages start as low as $3.00 per CD. Packages include digitally [email protected] pre-mastered CDs of your group, CD cases, JlI~hic design, tull MUSIC AND WORSHIP Carl L. Starn color covers and traycards, assembly gnCi poly:wrap.,,-WEffc Chapel Hill Bible Church 1200 Mason Farm Road. can work from OATs, CDs, rec9rds, vid~,Ps-o~-(')assettes. '\ ~" Chapel Hill, North Carolina 27514 919/968-4754 (voice); 919/918-4059 (fax) Give us a call to see how easily your prl~ety. c8rJ' get'Upderwaf"" ..,">" [email protected] I Il \...... -.... II.... -' t 7 SENIOR HIGH SCHOOL CHOIRS Janice R. Bradshaw 9 Morningside Drive Boonville, Missouri 65233 816/882-7558 (voice); 816/882-3368 (fux) /I~~~ [email protected] TWO-YEAR COLLEGE CHOIRS D. Brent Ballweg Collin County Community College 2800 East Spring Creek Parkway /U IISL Plano, Texas 75074 972/881-5653 (voice); 972/881-5103 (fax) F QUALITY [email protected] . CDs WOMEN'S CHOIRS Monica Hubbard California Institute of Technology Mail Code 2-58 Pasadena, California 91125 626/395-6260 (voice); 626/795-8731 (fax) [email protected] YOUTH AND STUDENT ACTMTIES Scott W. Dorsey Department Moum Union ColJege of Music. PH: 1-540-899-3981 FAX: 1-540-373-3902 Alliance, Ohio 44601 4521 Vicky LN Fredericksburg, VA 22408 330/823-2181 (voice); 330/823-2144 (fax) email: trlpled!sc@aoLcom [email protected]

MAY 1998 PAGE 5 LUTHER TRIUMPHS IN The Luther College Music Department congratulates

~ ERIC CUTLER '99 ~ WINNER OF THE NATIONAL COUNCIL AUDITIONS

On April 5, 1998, Eric sang on the stage of the Metropolitan Opera. As winner of the Met Auditions, Eric rec.eived a $10,000 prize, in addition to a $5,000 prize for winning the regional competition. Of the ten winners, Eric is the only tenor. His voice teacher is Dr. Edwin Andereck, and his vocal coach is Dr. Jessica Paul, both members of the Luther College music faculty.

~ LUTHER'S UNIQUE OPERA PROGRAM INCLUDES ... • performance courses in opera • fully-staged productions with • 10 voice teachers • musical theatre opportunities • expert coaching • apprentice program with professional opera • excellent acting and dance training (Dorian Opera Theatre)

"IT WAS A GREAT PLEASURE TO BE ON THE LUTHER CAMPUS AND TO HEAR AND EXPERIENCE THE VERY HIGH QUALITY OF THE SINGERS IN THE DORIAN OPERA THEATRE. IT WAS ALSO MOST SATISFYING TO FEEL THE LOVE AND PASSION FROM ALL THE PEOPLE INVOLVED IN THE PROGRAM."

-SHERRILL MILNES, JULY 1996

~ 1998 LUTHER SENIORS HAVE BEEN ACCEPTED AT THESE GRADUATE SCHOOLS ... Juilliard • Eastman • Indiana • Manhattan School of Music • Cincinnati • Northwestern • LONGY

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AT CARNEGIE HALL IN 1999

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APRIL 4 Vaughan Williams's Serenade to and Five Mystical Songs, and Rutter's Gloria and Te Deum MAY 1 Haydn's The Creation MAY 29 Haydn's Mass in Time o/War ("Paukenmesse") and Rutter's MAY 31 Rutter's Requiem and Mozart's Requiem JOHN RUTTER JUNE 27 Puccini's Messa di Gloria and "Great Qpera Choruses"

APRIL 5 Beethoven's SymphoIlyl',J0' 9 MAY 31 Verdi's Requiem JUNE 10-21 in Vienna,,Krop1eriz:

Mozart's Requiem /.;). 000

PETER TIBORIS For further information: 1-800-842-6747 http://www.midamerica-music.com Krzysztof Penderecki's Seven Gates oflerusalem

by Ray Robinson

Ad maiorem Dei gloria et eius sanctae civitatis laudem for some of his most prominent compositions. In many cases aeternam the references to these events have been so direct and obvious (Dedicated to the glory of God and His Holy City [with] that critics have asked the question: "Can such direct commu­ eternal praise) I nication in a musical work be considered art?" Sometimes the association has come in the form of musical The celebrations surrounding the three-thousandth anni­ parody: chorale fragments from Bach's Passions; the popular versary of King David's ascendancy to the throne of Austrian carol Stille Nacht, heilige Nacht; the old Polish hymns provided the occasion for the commissioning of Kyzysztof Switzty Boze, fwitzty Mochny and Boze cof Polske; and the B-A-C­ Penderecki's The Seven Gates ofJerusalem (1996) by the city of H motive in the St. Luke Passion. Similar symbolic references Jerusalem, the Jerusalem Symphony Orchestra IBA, and the are present in Seven Gates ofJerusalem. Symphony Orchestra of the Bavarian Radio. The hour-long Penderecki's special interest in big forms and texts that carry piece for five soloists, speaker, three choirs, and large orchestra universal themes dates back to the early 1960s and begins with premiered on January 9, 1997, in the old city of Jerusalem. the dedication of his orchestral work Threnody "for the victims Three professional choral groups appeared in the first perfor­ of Hiroshima" (1960). At the press conference preceding the mance: the choirs of the Bavarian Radio (Munich), the Middle premiere of his Passion According to St. Luke (1966), the com­ German Radio Choir (Leipzig), and the South German Radio poser stated: (Stuttgart). The first performance was conducted by .2 The Passion is the suffering and death of Christ, but it is also the suffering and death at Auschwitz, the tragic Big Forms and Universal Ideas experience of mankind in the middle of the twentieth Penderecki's formidable career has been built on works com­ century. 3 posed for the commemoration of a number of significant his­ torical and contemporary events. The American and French The Polish Requiem (1980-84) further demonstrates bi-centennial celebrations, the tragedies of Auschwitz and Penderecki's predilection for dealing with subjects of repres­ Hiroshima, the Katyn Forest and Warsaw ghetto massacres, the sion, intolerance, and death, prompting the Polish musicolo­ lives of famous Poles such as Cardinal Stefan wyszynski, Father gist Regina Chl'opicka to write: Maximillian Kolbe, Pope John Paul II, Lech Walc;:sa, and the rise of the Solidarity Trade Union have provided the inspiration The interest in grand themes and the search for universal esthetical and ethical values are characteristics of Krzysztof Ray Robinson is Distinguished Professor of Choral Studies at Pendereclci and make themselves apparent in his works.4 Palm Beach Atlantic College, West Palm Beach, Florida.

MAY 1998 PAGE 9 The biblical prophecies relating to the theme that commences the work con­ excerpts, from the Psalms of David and return of God's chosen people to the Holy tains five notes in its first part and seven the prophetical books ofIsaiah, Jeremiah, Land, the rebirth of the State of Israel, in the answer. The key words "seven," Ezekiel, and Daniel. The text from the restoration ofJerusalem, and the com­ "gates," and "David" each contain five Ezekiel, which presents the prophecy of ing of the Messiah provide the grand letters. The number seven in the work's the dry bones (Ezekiel 37:1-10) in the themes in Seven Gates ofJerusalem. title, its seven movements, and the sixth movement, is read by the speaker in passacaglia theme in movements two and the vernacular language of the audience Neo-romanticism four, which is based on a seven-note mo­ (it was read in Hebrew at the Jerusalem and Numerology tive, indicate that the number seven has a premiere). The rest of the text is sung in In this work Penderecki adopts a neo­ special importance in this work. The Latin. romantic, lyrical musical style of writing, penultimate bar of movement one con­ The seven movements with their titles, in marked contrast to his earlier more tains a final unison motive in the choral scriptural references, and musical forces dissonant and sonoristic musical lan­ part that consists of nine notes (the num­ are as follows: guage.5 This is evident on the first page of ber of letters in the word Jerusalem) as the score where the establishes the three choirs sing the text "in civitate Movement I-Magnum Dominus the tonality of C with a majestic modal Dei nostri" (in the city of our God) (Fig­ et laudabilis nimis (Great is the theme (Figure 1) that presents the major ure 3). Penderecki precedes this motive Lord, and most worthy of second and minor third as key melodic with three statements of the five-note praise) intervals. A contrasting atonal theme more motive, which also create symbolic refer­ Psalm 48:1; 93:1-3; 48:2; 96:1- in Penderecki's earlier style follows imme­ ences. Finally, the last three measures of 3; 48: 14; choir, solo , diately, one that is dominated by the in­ the work present confirmation of the cen­ orchestra terval of the linear minor second (Figure tral role of the number seven in the form 2). Both themes introduce seminal of seven chords in the winds. Movement II-Si oblitus foero motivic material that forms the basis for tui, Jerusalem (IfI forget you, 0 thematic metamorphosis. The Text Jerusalem, may my right hand Several elements of the work demon­ The composer's text selection contrib­ forget its skill) strate the composer's fascination with the utes to the unity of the work. He has Psalm 137:5; soprano solo, numbers five, seven and nine. The unison assembled a variety of Old Testament choir, orchestra

ff I,,, Movement III-De profondis t) - (Out of the depths I cry to you, [4 - I r I~r r r I- I F I F If" ~r r Mag - nus Do - mi - nus et lau - da - bi - lis ni - mis o Lord) Psalm 130:1-5; choir I, choir II, Figure 1. Movement one, motive one choir III (unaccompanied) © 1996 Schott Music International, Mainz. Used by permission Movement IV-Si oblitus foero f II tui, Jerusalem (IfI forget you, 0 @1:J In. Jerusalem ...) inci-vi-ta-te De-i no-stri. Psalm 137:5; Isaiah 26:2; Isaiah Figure 2. Movement one, motive two Figure 3. Movement one 52:1; soprano solo, choir, © 1996 Schott Music International, Mainz. Used © 1996 Schott Music International, Mainz. orchestra by permission Used by permission Movement V-Lauda, Jeru­ salem, Dominum (Extol the Lord, 0 Jerusalem)

i no stri in mon -te sane to, sane to e - ius Psalm 147:12-14; choir!, choir 1 1,....1 II, choir III, solo quartet, - orchestra eJ _ 1_ no -- stri in mon -te sane - to, sane - to, sane to e - ius ~ ~.~~~n~· Movement VI-Des Herrn Hand kam aber mich (The hand of the Lord was upon me) ~- - i no stri in mon-te sane to, sane to e - ius Ezekiel 37:1-10; speaker, ?0(9-~ ~~ -e- 0(9- 0(9- 0(9- ~ > n. orchestra " no stri in mon te sane - to, san - to e - ius Movement VII-Haec dicit Figure 4. Movement one, motive three © 1996 Schott Music International, Mainz. Used by permission Dominus: Ecce ego do coram vobis

PAGE 10 CHORAL JOURNAL viam vitae et viam mortis (This Form and Musical Means second motive two. Three motives pre­ is what the Lord says: See, I am Most of the themes and contrapuntal dominate in movement five, the longest setting before you the way of life lines in Seven Gates derive from motivic and most exciting movement of the work: and the way of death) material introduced in the opening sec­ the "motto" (motive six), the minor-sec­ Jeremiah 21:8; Daniel 7:13; tion, thereby producing an extraordinary ond (motive two), and the major-minor Isaiah 59:19; 60:1-3, 11; Psalm internal coherence. The melodies are of harmonic thirds (motive three). Finally, 96:1, 3-4; Psalm 48:2; choir, two contrasting types: the modal ques­ motives one and two return to dominate solo quintet, orchestra.6 tion-and-answer type (motive one) that the thematic metamorphosis that takes opens the work (Figure 1) and the atonal, place in movement seven. Notwithstanding the fact that the text is minor-second-dominated theme (motive A well-known Penderecki signature taken exclusively from the Old Testament, two) (Figure 2), from which much of the that appears in this work in a somewhat the composer states that the prophetical contrapuntal material is derived. In addi­ varied form is a major-minor chord with texts of the work, "especially the passage tion, Penderecki uses three other musical a raised fourth in the . (Figure 6) from Daniel, point to the resurrection [of building blocks in his score: the harmonic Initially introduced in Magnificat (1973- the saints] and to the coming of Christ."? thirds presented on the first page of the 74), this sonority appears consistently in The most poignant moment in the orato­ score (motive three) (Figure 4); a four­ works written since that time. 10 The com­ rio is the dramatic reading of the proph­ note ascending minor-step motive that is poser varies the chord in Seven Gates to ecy of the dry bones from Ezekiel, which repeated after an interspersed major sec­ left the audience at the work's premiere in ond (motive four); and ascending and a state of deep contemplation. descending intervals of the perfect fourth w: ~ I~J J J J J J J and fifth (motive five). The Orchestra One of the most prominent motives Figure 5. Movement two, motive six The orchestra is large, even by in the work is the "motto" theme (motive © 1996 Schott Music International, Mainz. Used by permission Penderecki's standards. It includes three six) (Figure 5), which confirms the sym­ flutes (threee and four double on pic­ bolism of the number seven. It dominates colo), three oboes, one English horn, three movements two and four and reappears B~ (three doubles on:8 ), in movement six. It derives from the two one bass clarinet, three bassoons, one con­ basic themes. The quintuplet figure re­ trabassoon, four horns, three trumpets, calls motive two, and the seven repeated four trombones (three also plays bass notes that complete the theme spring from trombone), tuba, four percussion players, the second half of motive one. The mate­ organ, celesta, , and strings. An ad­ rial that forms the basis of movement Figure 6. "Penderecki" chord ditional group that plays from one or two three also originates in the linear minor- © 1996 Schott Music International, Mainz. balconies (depending on the venue) con­ Used by permission sists of three B~ clarinets, bass clarinet (doubling on:8 clarinet), three bassoons, contrabassoon, four horns, three trum­ pets, four trombones, and tuba. With these extensive instrumental resources, the sound that emerges from the orchestra is often richer than that heard in a Mahler or Strauss work. Arching modal lines and Custom Concert Tours & International Festivals chordal structures with pedal tones create Custom Touring Specialists in over 40 countries on 5 continents! organ-like effects reminiscent of Bruckner's compositions. 'Sydney Sings' Children's Chorus Festival For Seven Gates the composer adapted 1999, July 12 - 18, Sydney, and designed a new percussion instru­ ment listed in the score as a "tubaphone." Jean Ashworth Bartle, Conductor/Clinician He heard a version of it played during a Tuscany International Children's Chorus Festival visit to Canada in 1995.8 Penderecki's tubaphone consists of brown plastic tubes 1999, July 5 -11, Florence, Italy whose pitch is determined by their length. 2000, July 3 - 9, Florence, Italy Musica Mundi, Inc. Henry Leek, Conductor/Clinician 101 First Street, Suite 454 The pipes are mounted on two large Los Altos, CA 94022 wooden super-structures. The sound is 1-800-947-1991 generated as the player strikes the end of Get ALL the details at Phone 650 949 1991 • Fax 650 949 1626 the tube with two padded implements E-mail: [email protected] http://www.musicamundi.com shaped like ping-pong paddles.9

MAY 1998 PAGE 11 include two perfect fifths: the primary al ternation of traditional content (serial­ structure of the chord, in this case C-G, based linear writing) with sonoristic events with the other perfect fifth built on the (sound clusters and other vertical struc­ tritone. The other difference is that the tures) creates conflict and resolution. In a bass note in this construction is the tonic 1973 interview Penderecki explained how not the raised fourth degree of the scale. he used tension and release in Stabat mater (Figure 7) and the St. Luke Passion: As he did in his St. Luke Passion, Penderecki ends Seven Gates on a bright The way I handle sound depends a Complete choral productions with E-major chord. When he concludes an good deal on the notion of profossional singers highlighting each part! otherwise atonal work with a major chord, harmonic tension and the way which he did at various points in his ca­ cettain combinations of pitch will Our library features works such as: reer (e.g., the orchestral work Porymorphia, react. A simple example is the end Requiem by John Rutter the unaccompanied choral work of my Passion. People have The Faure Requiem Stabat mate}; the oratorio Magnificat), wondered at how I arrived at my Vivaldi's Gloria The Mozart Requiem Penderecki states that it is for the purpose E-major conclusion. Well, you Handel's Messiah of bringing release to the tension he has could say it has a link with the end Gloria by John Rutter ... and many more! created throughout the composition. As of Stabat matel' (which, as you he composes, Penderecki is continually know, is used in the work), but "The Singers on your tapes are wonderful! Great phrasing. Having the students prepare with your searching for what he identifies as tension there is another reason which is tapes enabled me to start at a much higher level!" and release. In the early works, the based on the semi-tonal chromatic Dr. Will Kesling progression of the word "Domine," World-renowned Choral Conductor Guest Conductor, 1996 Utah All-State Mixed Choir which in itself is derived from my main twelve-tone series. This led me Call for free demo and information! inevitably and logically to the chord of E major: you see, the tension of 1-800-290-SING the G naturals could only be resolved by letting them rise yet e-mail: [email protected] • fax: (253) 474-3031 http://www.partpredomlnant.com/ppr again to a point of repose. J1 3835 South A Street. Tacoma. WI'. 98408-7816 Figure 7. "Penderecki" chord variation, movement one In Seven Gates there is perhaps another © 1996 Schott Music International, Mainz. reason for the major-chord ending. The Used by permission composer's E-major chord leaves the au­ dience with a glorious thought from Psalm 48:2: "The city of God brings joy to all the worldJ" Penderecki thus pays homage June 28 - July 4~ 1999 to Jerusalem, which he termed in his title page dedication the "holy city." Des Moines, Iowa USA Notes • Competition and Festival for treble choirs 1 Quoted from the dedication that appears of children ages 15 and under. on the title page of the conductor's score. Krzysztof Penderecki, Seven Gates of Jerusalem (Mainz: Schott Musik International, 1996), iii. 2 Program of the Jerusalem premiere, January 9, 1997. The soloists were Mariana Nicolesco (S), Sylvia Greenberg (S), • Formal and informal concert opportunities. Angela-Maria Blasi (S), Jadwiga Rappe (A), Yevgeny Shapovalov (T), Reinhardt • Renowned international jurors and choir-in-residence. Hagen (B), and Boris Carmeli (Speaker). 3 Wolfgang Biirde, "Berlin: Alban Berg's • 1999 Festival will highlight Nordic music. Lulu-Krzysztof Penderecki's Lukas Passion," Neue Zeitschl'ift fiir Musik 139 • All housing, meals and local transportation arranged by the (April 1968): 185. Festival.

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E. C. Schirmer Music Company. Galaxy Music Corporation • divisions of MELODlJE A Monument of the Na. P:Cllterz Polski, przez Polish Renaissance: Mikolaia. Gom61ke Mikofaj Gom6l'ka's Psalter

by Leslie Guelker-Cone

l'i g o.

Following the ideals of the Protestant Reformation, reli­ King Sigismund August in Cracow. In 1558, Gom61ka joined gious leader Jean Calvin (1509-64) demanded simple musical the court orchestra, playing both flute and trumpet. presentations of purely biblical texts for public worship and Gom61ka eventually left the court, married, and fathered a private devotion. To fulfull this need, set metrical son, Michal:, who became a well-known musician. In 1566, versions of the psalms in the vernacular. The earliest Calvinist Gom61ka returned to Sandomierz to settle his parents' estate. psalms, dating from the late 1530s, were monophonic, fol­ Highly respected and influental, he served for several years as lowed shortly by four-voice, primarily homorhythmic works town alderman and in 1572 was elected deputy magistrate. He that used syllabic text declamation. Soon, the immense popu­ moved back to Cracow sometime between 1580 and 1587, larity of these psalms led composers to set them in a more possibly in the service of Catholic Bishop Piotr Myszkowski. elaborate polyphonic texture. According to Calvin's dictates, No further record of his life appears after 1591. A gravestone in the monophonic psalter was intended for inclusion in church the town of}azlowiec bears the name "Gom61ka" dated March services, while harmonized psalm settings were composed ex­ 5, 1609, however, the memorial may be that of his son Michaf.2 clusively for private devotional use. As the influence of the religious reformers reached Eastern Europe, vernacular psalm settings gained popularity there as Score Gom6lka's Me/odie na psalterz polski is his only surviving well. Miko1aj Gom6lka's Me/odie na psalterz polski (Melodies work. It is dedicated to Bishop Myszkowski, with a Latin for the Polish Psalter) was the most well-known harmonized introduction by leading Calvinist dissident Andrzej Trzycielski. Polish Reformation psalter composed during the period and Gom6l'ka's psalter was probably used by both Catholics and the first extended musical setting in the Polish language. It Protestants, a manifestation of the liberal religious spirit in consists of 152 short settings (Psalms 1-150 with double set­ Poland during that period. tings of Psalms 45 and 142).1 The metrical paraphrases of the Created for home use, Gom6lka's psalter includes the fol­ biblical texts were written by Jan Kochanowski, one of Poland's lowing verse in its preface: most revered Renaissance poets. Surprisingly little is known about Gom6lka's life. Born in Sa lacniuchno uczynione, Sandomierz in southeast Poland in approximately 1535, he was prostakom nie zatrudnione. the son of burgher couple Tomasz and Agnieszka Gom61ka. Nie ella wl:'och6w, ella Polak6w, Displaying musical ability from early childhood, he was ac­ ella naszych prostych domak6w. cepted at age ten as a chorister in the Royal Chapel choir of They are very easy writ, Leslie Guelker-Cone is Director of Choral Activities at Western for simple folk no discomfit, Washington University, Bellingham. Not for Italians this tome but for our simple folk at home.3

MAY 1998 PAGE 15 His publication was Poland's first musical generally included only the first verse of resemble the Protestant chorale, with a score and the country's largest sixteenth­ each psalm in his settings, though it is syllabic melody in the cantus (or some­ century musical publication. Arranged in possible that performers sang additional times the tenor) and the remaining parts choirbook format, each of the four voices verses to the same melody. Gom6lli:a's se­ accompanying in a note-against-note style is spread horizontally across two pages, ries of concise compositions reflect the with simple rhythms. One example of with the cantus on top, followed by the Calvinist demand for simplicity and in­ this type of setting is Gom6lli:a's Psalm altus, tenor, and bassus (Figure 1). The telligibility in setting the vernacular text. 118 (Figure 2).6 singers performed from a single score The second, most prevalent, category placed on a table or stand. Form and Tenure includes those settings influenced by Gom6lli:a arranged the psalms accord­ Gom6lli:a scholar Mirosl'aw Perz divides secular genres such as the madrigal and ing to Hebrew/Protestant numbering the psalm settings into four major catego­ chanson. These settings employ free po­ rather than that of the Vulgate. He ries.5 These include, first, settings that lyphony, though usually without exact imitation (Figure 3). No single voice pre­ 1______~~d.~uro~_hll_6\\l ____ _ ------11\01&efMballill81·/XociJ6nowll'. 54 .. dominates, and no clear cantus or tenor Ps .dLM L. 1.)rtll aror:tm dominm loCII- Ills ljI .. 67 'V(]~(tllit Url'd/U. -"'I: melody is present. Syllabic sections alter­ C A 7(:: '1:rs. II nate with short melismatic passages that 1---~~j-f-,-~..,.....~-nm.mtEit provide rhythmic variety; chromaticisms ~~Sltlit ~Jll'fl frO ry'*tff no(l~il.l~(mJ!: V::,r,1rt1lC'tn §§EF1TdI:~i~~l mo wti ftc s,) N ". pOlewit jimltr d> nflb;tlflC"1' oA L- '1:rs. appear frequently. Two voices are some­ oJ ~@bIDtmm¥H@r=t~-~ ._ .... .60. times set apart from the whole in a duet !f011)9tl'icqm4·ti:I'ttf1fI:t~(t.t)U(c 3f~:;- ., texture, as in Psalm 50 (Figure 4). m. wi, rl' S' IU ie. po JO ttlfc $Itmit cb ttf4Jobni1 'T E- 7(.0 R. A third category involves those com­ positions that are more complex elabora­ ~Et~-!£j-nlg=tt~ ~-:t.Tdfl t ij+4+t* ¥1 t1-B ~!D9rci"PlT,'tr6ryrcf,yji-rilnr.,. fl'J 'Llic~l'nll:l:ttJJlrn1IU1 n,o Il:£t ryC gctu it. 'Polmic ~c mil obott{~nCr tions of the preceeding group. These 11 A s- S r s. employ imitation between two or three -Jr- .Q-J ~ijj=lfmft-rutf!!LijjE ~ , voices, as in Psalm 108 (Figure 5). Text ~0smu:ltl,.!tt6rytl:'jl'TfltirnT\'(l.iJU(t Ditmtluni:,r.inwlIIl ",lm/Il'g_·V"" wi. jk II~ cb ttf~obrttr painting occurs in this passage as the poet tI**1 p srdnf( speaks of "rising to meet the dawn." Figure 1. Psalm 50

t:\

ti Chwal - cie Ipa _ na prze Ido - brae Je _ Igo nie - wy - mow n\! i prze Ii - tose wie kom raw - n\!o " t:\ .g • 4o' .... - - . • - - oi' .a- Chwal - cie Pa - na prze do - brae Je - go nie - wy mow n\! I prze Ii tose wie kom row n~. t:\ , , Chwal - 'cie ~a - na prze do - brae Je - go nie - wy mow n\! I prze Ii - tose wie kom_ raw - n\!o t:\

, v " Chwal - cie Pa - na prze do - broe Je - go nie - wy - mow n~ I prze- Ii - tose wie kom row n~.

Figure 2. Psalm 118, COl1fitemini Domine. Reprinted by permission ofPolskie Wydawnictwo Muzcyzne.

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PAGE 16 CHORAL JOURNAL The final category is represented by a While a majority of Gom6fka's me­ "Panie" (Lord) or "Boze" (God). small number of triple-meter settings. lodic writing conforms to sixteenth-cen­ Gom6fka's psalm settings are the first Pol­ These psalms often display a dancelike tury conventions, his frequent wide ish sacred compositions to feature fre­ character and a stylistic affinity to the melodic leaps give the psalter a progres­ quent written accidentals apart from the Italian villanella and the German Lied sive character not found in other Calvin­ obligatory ones added by singers accord­ (Figure 6). ist psalm settings of the period. Octave ing to the rules of musica ficta. leaps and major and minor sixths high­ Another noteworthy feature of Melody light important syllables or textual ideas. Gom6fka's work is the frequency with Gom6fka's melodic writing is influ­ Melodic chromaticism often serves the which melodic borrowing occurs. Self­ enced strongly by textual considerations. same purpose, with altered notes func­ quotations appear throughout the psalter His melodic phrase structure mirrors the tioning as expressive devices to draw at­ and add an underlying sense of unity to length of textual phrases. Melodic con­ tention to important words such as the work. Fragments from a variety of tour also mirrors the text, as the melodic apex of a line often concides with its tex­ tual high point. While vocal lines are pri­ marily syllabic, short melismas add emphasis to important words or add va­ tu je. Po - zo - wie zie riety in cases of text repetition. Gom6fka's Psalm 45b contains the most extended use of melismatic writing in the tu je. Po - zo - wie zie psalter (Figure 7). These melismas create a mood of ardency and zeal, expressing tu je. Po - zo - wie ___ zie - the psalmist's eagerness to sing a new song to God, using his tongue "like the pen of a ready writer." - wic sie go tu je. Po - zo - wie ___ zie - Figure 4. Psalm 50, Deus Deol'Um, Domines locutus est. Reprinted by permission of Polskie Wydawnictwo Muzcyzne. IIJ "''' i:=!!I

~ ~ - .. r o - cho-tn~ mysl, o - cho - tne ser - ce [o-c';,o-tne ser - ce]_ wso bie czu j~, No - wy ~salm Pa - " ~ ~...... '* .. 0 cho- tn~ mysl, 0 cho - tne_ ser ce wso bie_ czu j~, No - wy psalm Pa - " - 0 [ho- tn~ mysl, 0 - tne_ ser - ce wso - bie_ czu - j~, No - wy psalm Pa - " ... 1L=- r "' 0 cho-tn~ mysl, __ 0 - cho-tne ser - ce [ser - ce]_ wso - bie czu j~, No - wy psalm Pa - Paratum cor meum. - Figure 5. Psalm 108, Reprinted by permission ofPolskie Wydawnictwo Muzcyzne. IIJ ,..t" Henriette Sc/znellenberg

~ I I "a cleal; agile, liquid voice" Kleszcz - my r~ ko - rna wszy scy zgo dli wie, Wszy scy waj [my] - spie - Pa nu ch~ tli wie. . C,olwell " ARTS ~IANAGEMENT tJ I -6'- -6'-: (519) 662-3499 Fax: (519) 662-2777 Kleszcz - my r~ ko - rna wszy - scy zgo dii - Wle, Wszy - scy spie - waj - [my] Pa nu ch~ tli - wie. " ~ Kleszcz - my r~ ko - rna wszy - scy zgo dli - wie, Wszy - scy spie - waj my Pa nu ch~ tli - wie. c; .. ff'" .. ? .,.

"" Kleszcz - my r~ ko - rna wszy - scy zgo dli - wie, Wszy - scy spie - waj my Pa nu ch~ tli wie. Figure 6. Psalm 47, Omnes gentes, plaudite nanibus. Reprinted by permission of Polskie Wydawnictwo Muzcyzne.

MAY 1998 PAGE 17 in Polish hymnbooks in the succeeding Below is a comparison of his evocative Awake, psaltery and harp: centuries played an important role in version of Psalm 108 with that of its King I myself will awake early. preserving the Polish language. James counterpart. Kochanowski's psalms can still be found Kochanowski's Psalter ofDavid in present-day Polish hymnals, both Prot­ Psalm 108: 1-2 Ochotna mys!, ochotne serce w estant and Catholic. KingJames Bible sobie czuje, Kochanowski's poetic style in the o God, my heart is fIxed; Nowy psalm Panu swemu, nowfl psalter embodies clarity and restraint, I will sing and give praise, piesn gotuj\:!. manifestations of the poet's well-ordered even with my glory. humanistic view of the world. Yet it con­ Powstan, uciecho, powstan, lutni tains striking and original imagery as well. moja, Ruszwa r6:iinej zarze z jej pokoja.

Music is Your Spe4iillty. . . In Filct . .. It's All We Do! I feel my mind, my heart ready, Music is Our Speciillty. . . - lET'S WORK TOGETHER! I will sing a new song unto my Lord. Church Choirs University Choirs Awake thou lute, my comfort. Community Choirs I myself will awake right early with School Choirs Symphonic Choirs thee and we shall move the rosy dawn British/European Tours from her chamber.9 Kochanowski's biographer, David Welch, considers the Psalter of David to be sub-contracting to European Kochanowski's ''poetical laboratory,"l0 as it to you the,(o:nd~lctcllr! We are experts in cboral our only business, so let's begin your dream today! employs a wide variety of meters, rhymes, stanza patterns, and vocabulary. It led to the 1999's IPremiere Choral Festivals - enrichment of the modem Polish language Planned, Researched and Executed Exclusively By B.E.S.T. through its exploration of several literary de­ vices. One of the most interesting of these is the modification ofcertain psalm texts to make them more £uniliar to Polish readers. The "bulls of Basham" become wolves, while the "cedars ofLebanon" are changed to oak ttees. Two of Kochanowski's greatest contri­ Canterbury Cathedral butions to Polish literature were the stan­ British-American Reformation Church Music Festival dardization of isosyllabism (the use of an Featuring Festival Choir Concerts at Britain's Most Important Locations of the Faith - St. Giles Cathedral, Edinburgh; Canterbury Cathedral; Westminster Central Hall with the Virtuosi of London Orchestra equal number of syllables per line) and CONDUCTED BY: David Flood, OrganistlMaster of tbe Cboristers, Canterbury Cathedral the consistent use of the paroxytone David Davidson, Director of Music, Highland Park Pres. Cburcb, Dallas, (penultimate syllable) accent, both of and Director of tbe Dallas Sympbony Cborus which are characteristic traits of his psalter. Prior to the sixteenth century, isosyllabism was not a requirement in Polish poetty; syllables could range from fout to four­ teen per line. Kochanowski's use of isosyllabism in his poetry added a consis­ '97 Canterbury Cathedral Concert '97 Westminster Central Hall Concert tency and smoothness not found in ear­ International Children I s Choir Festival lier verse. His utilization of the textual An Exact Repeat of the Phenomenally Successful f 997 Festival "The Finest Event Ever Planned for Children's Choirs"! Featuring Festival Choir Evensong in Canterbury Cathedral; Festival Choir Evening Concert in Can­ paroxytone accent was one of the forces terbury Cathedral, Final Concert in London's Westminster Central Hall with orchestra that stabilized the modern Polish language. CONDUCTED BY: Henry Leek, Music Director, Indianapolis Cbildren's Cboir David Flood, OrganistlMaster of tbe Cboristers, Canterbury Catbedral Another innovation in the psalter was the introduction of the thirteen-syllable " ,Britisl1~European Specialty ~ours alexandrine, originally a feature of Latin Street Address: 260 South First St., Suite #6, Zionsville, IN 46077 poetry. Kochanowski purposefully placed , Mailing Address: PiO. Box 78193, Indianapolis, "IN 46278-0193 internal caesutas in the alexandrine in or­ TELEPHONE: 800-835-0402 FAX: 317-873-9733 der to accentuate important words in the

PAGE 20 CHORAL JOURNAL centers of poetic lines. This resulted in accent of the text. In Psalm 89 the ac­ appears in Psalm 22, which opens as fol­ thirteen-syllable lines divided into groups cented syllables of"mil'osierdzie" (mercy), lows: of7 + 6 or 8 + 5. "wieczny" (eternal), and "Pinie" (Lord) A final textual characteristic of these receive the half note while the surround­ Boze, czemus rnie, czemuS mi~, m6j psalm paraphrases involves enjambment ing unaccented syllables are set to quarter wieczny (the continuation of an idea from one notes (Figure 13). God, why me, why me my eternal poetic line to the next). In contrast to Gom6tl

tI ~ I Pa- Panie, uczyTI sad omnie, a tam Twe rni - 10 - sier dzie, Two - j~ pra[ w - d~], wie czny ujzrzysz moj~ " Lord, judge me and there you will ov ~ .' Twe rni lo - sier dzie, Two - j~ pra[ w - d~], wie------­ czny Pa see my " I. I swoj~ ~ rni - 1 Niewannosc. P6ki ja ufnose Twe 10 sier dzie, Two - J~ pra[w - d~], wie czny Pa Innocence. While I my trust b -

I I WTobie pokYadae b~d~, zawzdy mi '" Twe mi - 10 sier dzie, Two - j~ pra[w - d~], wie czny Pa dostanie In you will place, therefore I will "" not tI I .. u - nie, Wy-sla - wiae rnoj ryrn b~ d·Zle, po- - ki swia- ta sta nie. " ~ Statku prawdy. Doswiadcz mie, eJ .. v .g ...... ~ panie. - nie, Wy-sla - wiae moj ryrn b~ dzie, po - ki swia- ta sta me. ,....., ~ Fall away. Examine me, GOd. 11 " - tI I. Gom61.ka's sensitivity to the structure of - me, Wy-sla - wiae_ moj rym b~ dzie, po - ki swia - ta ___ sta - nie. the verse and to the poet's consistent em­ b b ~ ployment of isosyllabism, paroxytone ac­ I I cent, caesura, and enjambment allow the "" - nie, Wy-sla - wiac moj ryrn b~ dzie, po - ki swia-ta sta nie. settings to serve as a musical mirror of the Figure 13. Psalm 89, Misericordias Domini. text. Reprinted by permission ofPolskie Wydawnictwo Mnzcyzne. The stanzaic structure of the poetry determines the musical form of each set­ III ting in the psalter, with textual repetition -''' employed only to highlight particular eJ Bo- ie, __ cze - rnus mi~, _ cze-[rnuS] rni~, moj Iwie - [czny] Bo ie, 0- words or phrases. Generally, a simulta­ neous cadence in the four voices under­ " scores the end of each poetic line, and ":w*:-----* Bo - cze-rn[uS] mi~, _ cze-[rnuS] rni~, o----­ - additional cadences often mark off mid­ ..--.. line caesuras. One of the most characteristic ways in ~ Bo - ie, __ cze-[rnuS] rni~,_ cze-[~uS] rni~, moj wie - czny Bo ie, o - which Gom6tl

MAY 1998 PAGE 21 clearly the textual phrase (Figure 14). Odbiera sl'owa, i nowy rym dzieje; syllable alexandrine into musical usage, A final example of the composer's sen­ Ledwie talc pr£!dko pisarz pismo leje. aided in the solidification of modern sitivity to Kochanowski's poetry involves Polish literary style. These factors com­ the use of musical text painting. While My heart is inditing unto its Lord bine to illustrate the psalter's important Gom6lka's musical expression of the text And my tongue, obedient to my full contribution to both the music and lan­ is most often limited to reflecting its gen­ heart, guage of the Polish Renaissance. Influ­ eral mood and spirit, in some cases he Takes the words and spells a new enced by both Calvinist theology and employs madrigalisms to underscore the rhyme humanistic philosophy, Gom6lka's psalter meanings of selected words and phrases. Like the pen of a ready writer. 13 is an interesting and eclectic work that Frequently, words such as "hasten" and mirrors the multifaceted nature of Polish "run away" are set to fast rhythmic pas­ At the phrase "takes the words" ("odbiera cultural, religious, and artistic life during sages, while "powerful God" is accompa­ slowa"), the tenor begins the musical state­ the Reformation. nied by long, slow notes. "God" and ment and the words are "taken up" by the "heaven" are both set with large ascend­ other voices in imitation (Figure 7). NOTES ing leaps in some psalms, and the somber Miko1'aj Gom6lka's Melodie na pscdterz 1 Hebrew/Protestant numbering of psalms is character of Psalm 137 ("Sitting by the polski introduces novel melodic and har­ used in this article. low banks of the waters of Babylon") re­ monic elements into the standard musi­ 2 Jan Wecowski, "MikoYaj Gom6l'ka and His ceives expression through the use of a low cal style found in sixteenth-century Masterwork," Polish Music 11 (1976): 38. tessitura in all voices. The composer even psalters. That and its status as the first 3 MikoYaj Gomolka, Melodie na psrdterz polski uses imitation as a word-painting device. Polish musical score assure it a unique (Krakow: Lazarz, 1580), cited in Kochanowski's version of Psalm 45 fol­ position in Renaissance choral literature. Wecowski,40. lows: In addition, Gom6lka's overall sensitivity 4 Mikofaj Gom6lka, Melodie na psrdterz polski: to the demands of Kochanowski's text, as facsimile, Miroslaw Perz, ed. (Krakow: Serce mi kaze spiew:lC Pinu swemu, well as his introduction of the Polish Polskie Wydawnictwo Muzyczne, 1981), A sercu jezyk posl'uszny peYnemu paroxytone accent and the thirteen- 26. 5 Miros1aw Perz, "Preface" in MikoJ'aj Gom6l'ka, Melodie na psalterz polski (Krakow: Polskie Wydawnistwo Muzyczne, 1%3), 15. 6 This and all remaining musical examples are from MikoYaj Gomollca, Melodie na psoAterz polski, ed. Miros1aw Perz (Krakow: Polskie Wydawnictwo Muzyczne, 1983). 7 Extensive examples of borrowings are included in Miros1aw Perz, Mikalaj Gom6tka: Monografia (Kralcow: Polski Wydawnictwo Muzyczne, 1981), 252- 77- 8 Josef Reiss, "Nicholas Gom6lka und seine Psalmen-Melodien," ZeitschriJt der intemationalen MusikgesellschaJt 13 (1911-12): 250. 9 Josef M. Chominski and Zofia Lissa, eds., Music of the Polish Renaissance (Krakow: Polskie Wydawnictwo Muzyczne, 1955), 36l. 10 David Welch, Jan Kochanowski (New York: Twayne Publishers, 1974),50. 11 Translation by Susan Winchester. 12 Ibid. 13 Chominski and Lissa, 360. -C]-

PAGE 22 CHORAL JOURNAL Breaking the Silence: Choral Music of the Baltic Republics. Part III: Lithuania

by vance Wolverton n'akai Castle, Lithuania

Editor's Note: Parts one and two of this article, printed in About one-fifth of the economically active population engages February and April, discussed music of Estonia and Latvia, in farming; other important industries are metalworking, gen­ respectively. eral manufacturing, woodworking, shipbuilding, and fish pro­ cessmg. The largest of the three Baltic states, the Republic of Lithuania (Lietuvos Respublika) is bounded on the north by The History of Lithuania Latvia, on the east and south by Belarus, and on the southwest In the Middle Ages, Lithuania was the most powerful inde­ by the Russian enclave of Kaliningrad and by Poland. It is pendent state in central Europe.2 In 1410 Lithuania allied with bounded on the west by the Baltic Sea. Lithuania has an area of Poland to inflict a decisive defeat on the Teutonic Knights at 25,213 square miles and a population of 3,761,400, of whom Tannenberg [Grunwald]. In the eighteenth century the sprawl­ nearly 80 percent are ethnic Lithuanians, a much higher pro­ ing Polish-Lithuanian commonwealth fell victim to the anar­ portion of native inhabitants than that of either Estonia or chic politics of its nobility and the rise of powerful, predatory Latvia.] The capital city of (population 600,000), neighbors: Prussia, , and Russia. With the third and founded in 1323, lies in the far southeastern corner of the final partition of Poland in 1795, Lithuania was absorbed into country and is home to the largest "old town" in Eastern the Russian empire. Europe. In 1570 the Jesuits established an academy in Vilnius. Lithuania was subjected to an intensive campaign of Elevated to the status of a university in 1579, this institution Russification from 1864 to 1905. Nonetheless, Lithuania expe­ became a leading center of learning in the region and is the rienced a national reawakening during the last decades of the oldest university in northeastern Europe. nineteenth century. In 1918, while under German occupation, Lithuanians speak an ancient tongue related to Sanskrit, Lithuania declared its independence, which it retained until and it is recognized as the last surviving example of the Eur­ 1940 when it was occupied by the Red Army and annexed by asian proto-language. The languages of Lithuania and Latvia the Soviet Union. Nazi Germany occupied Lithuania from separated some thousand years ago and, though still very simi­ 1941 until the Red Army liberated the area in 1944. In the lar, are not as close as are the Estonian and Finnish tongues. following years Lithuania's economy was collectivized and forc­ The Lithuanian landscape consists of low-lying plains alter­ ibly integrated into that of the Soviet Union. In 1990, Lithuania nating with hilly upland of glacial drift left by Ice Age glaciers. declared its independence from the Soviet Union, attaining full independence in 1991. Vance Wolverton is Professor of Music at California State The Folk-Song Tradition University-Fullerton, Director of Choirs at Red Hill Lutheran The earliest Lithuanian folk songs were functional, consist­ Church, Tustin, California, and Assistant Conductor of the ing of work and ritual songs and those connected with every­ Pacific Chorale. day life. New genres prompted by the development offeudalism

MAY 1998 PAGE 23 included historical and military songs, types, that may be shaped into a variety represents one of the earliest syntheses of songs of social conflict, orphans' songs, of dramatic or narrative plots. The two folk poetry, music, and dance. The prin­ and songs about the role of women. The sets of interconnections are superimposed cipal characteristic of the sutartine is its songs are generally lyrical and light, with on each other. 3 construction on simultaneous major sec­ no dramatic extremes. The poetry is rich The intimate relationship with nature onds that are not resolved. There are three in conventional symbols and epithets. cannot be fully understood without tak­ types of sutartine: contrapuntal, sung by "Parallel construction" is a fundamental ing into account the close relationship two performers; canonic, in which three compositional device found in most with the dead that is most clearly ex­ singers enter in turn forming an endless Lithuanian folk songs; one or more enti­ pressed in the genre of laments, the chain of two-part counterpoint; and those ties or phenomena from the natural world raudos. The poetry emphasizes the belief that are mainly for dancing and performed are paralleled by corresponding entities that human life continues after death in antiphonally by two pairs of singers. and relationships taken from human life. the form of animals or plants. One of the Sutartines are sung and danced exclusively The natural side of the equation often main functions of birds in Lithuanian by women. The rhythm of the sutartine is contains an image of an animal, usually a folk songs is the transmission of mes­ duple, and syncopation is ubiquitous (Fig­ bird, or a plant, usually a tree, or fre­ sages, especially between the living and ure 1). quently a combination of both, a bird the dead. The cuckoo's call in Lithuanian The singing of two- and three-part ho­ perched in a tree, like a singer of songs folk songs often is a harbinger of impend­ mophonic folk songs may be found in perched in his own song. The human side ing death. several regions including A~kStaitija of the equation is most often represented A unique genre of polyphonic folk (southeast Lithuania) and Zemaitija by a network of human relationships, song, the sutartine (singing in concord), (western Lithuania). In the latter region mostly family relationships of various is practiced in northeast Lithuania. It many of these songs are performed by solo singers in an improvisatory manner, and they are marked by great rhythmic The 1998 Phil Mattson 1f,e4l"! freedom and ornamentation. Vocal Jazz/Choral Workshops 7 Credit for publication of the first col­ lection of Lithuanian folk songs (1825) oil M Us nO~,4 ~ '0 (;I goes to Liudvikas Gediminas Reza (1776- g" ~ ~ SOUTHWESTERN COMMUNITY COLLEGE - Creston, lA, June 21-25 1840), professor at Konigsberg Univer­ ~ 5""/1""'51,,,, ~ WESTERN MICHIGAN UNIVERSITY - Kalamazoo, MI, August 2-7 sity. The collection he published (Dainos tf'I C0l111111Wily Collt'~e "-i ~ . 0" FOOTHILL COLLEGE - Los Altos, CA, August 9-14 oder litauische Volkslieder) contains eighty­ .f:t-.c • s~ five songs and seven melodies given in The workshop's primary goal is to give participants a significant performance experience in traditional and the appendix. Lithuanian researchers look vocal jazz choral idioms. The curriculum includes classes and seminars in rehearsal techniques, literature and performance practice, harmonic understanding, ear training, improvisation, solo jazz singing, the rhythm section, upon collection of folk art as a weapon in and sound reinforcement. The workshop will also consider the significance of music and the arts, and discuss issues of concern to the music educator. the struggle for the revival of Lithuanian Faculty includes: Phil Mattson, Voiceslowa, Jason Smith, Nile Norton, Emily Gates, Steve Zegree, Duane national culture. In 1907 the Lithuanian Davis. For more information, write the School For Music Vocations, Southwestern Community College, Creston, IA Scientific Society issued directions for 50801, call (515) 782-1319, or e-mail: [email protected] folklore collectors that stressed the neces­ sity of collecting not only texts but tunes as well. Most active in that period was Adolfas Sabaliauskas (1873-1950), who deserves great credit for his research on Kapelhneister Choir Stools the sutartines and the manner in which 4 Custom Designed & Built they were sung. Single & Double Height Song Festivals Choir Stools The first national song festival in Lithuania took place in 1924, fifty-five years later than the first such event held in Estonia. Although the tradition of mas­ sive song festivals is not as long-estab­ lished in Lithuania as in Latvia or Estonia, national fervor runs just as high at the events. 5 Lithuania held its first three gen­ eral song festivals in 1924, 1928, and Kapellmeister Enterprises, Inc. 1930. Three thousand singers participated in the first festival and six thousand in 59932 Tamarack Dr. - St. Helens, Oregon 97051-(503) 397-4773 each of the following two. Each festival

PAGE 24 CHORAL JOURNAL presented a new program of approxi­ The Vilnius Academy (later Vilnius mately twenty songs. Among the conduc­ University) presented choral and orches­ tors of that period who were active in tral performances, offered music theory @bth!tm promoting the advancement of choral studies, and established a chair of musi­ singing were Aleksandras Kacanauskas cology in 1803. Vilnius was als~ a center (1882-1959), Julius Starka (1884-1960), of organ building.8 Stasys Simkus (1887-1943), Nikodemas The second half of the nineteenth cen­ Martinonis (1887-1957), Mykolas Karka tury witnessed a Lithuanian national VIDEOS (1892-1984), and Konradas Kaveckas awakening. Amateur choirs and orches­ Acclaimed videos provide (1905-96). The choirs they conducted tras presented concerts of Lithuanian mu­ new insights for the conductor were able to perform works requiring great sic, and numerous schools of organ professional skill. For example, the con­ playing arose. Working with Male Voices certs of the University student During the period from 1904 to 1914, presented by Dr. Jerry Blackstone choir, led by Kaveckas, were a success in the Lithuanian intelligentsia tried to en­ with his renowned 100 voice University of Michigan Men's Glee Club Stockholm, Prague, and Paris. 6 liven the cultural life of the country SBMP 226 - $39.95 through the organization of "Lithuanian Art Music evenings." The programs consisted offolk Fine Tune Your Conducting Skills During the medieval period, musical songs, comedic sketches, and dances. Al­ presented by Dr. Timothy Mount life flourished at the court of the though the artistic level of these events award winning Professor of Music, Lithuanian dukes, in particular Grand was not high, they nurtured people's faith SUNY at Stony Brook Duke Vytautas. The influence of Catho­ in their own musical abilities, whetted SBMP 181 - $29.95 lic music increased from 1387, when the their thirst for a better life, and raised the Lithuanian aristocracy converted to Chris­ national consciousness.9 Daily Workout for a Beautiful Voice tianity. In the fourteenth and fifteenth During the first period of Lithuanian presented by Charlotte Adams centuries, church choirs were established, independence (1919-40), a rich musical with her fabulous Girl's Twenty-One including, during the reign ofVytautas, a culture developed, primarily centered in high school ensemble mixed choir and a choir of twenty-four Kaunas. In that capital city, many new SBMP 21 - $39.95 treble voices at the Cathedral of Vilnius'? institutions were founded: the opera the­ In the early sixteenth century, an orches­ ater (1920), the Radio Symphony tra of eighty musicians served at Trakai Orchestra (1926), the Lithuanian Phil­ Castle. The first Lithuanian book, harmonic (1928), a folk conservatory I:~ Martynas Maivydas's Catechism (1547), (1930), a conservatory (1933), and the Santa Barbara Music Publishing contained eleven hymn melodies with Kaunas Symphony Orchestra (1935), as P.o. Box 41003 - Santa Barbara, CA 93140 Lithuanian texts. From the sixteenth to well as several string and folk Phone: (805) 962-5800 • Fax: (805) 966-7711 the early nineteenth centuries, Polish ensembles. Most Lithuanian composers Web Site: SBMP.COM culture exerted a strong influence on were educated at the conservatories in St. cultural life in Lithuania. Petersburg, Leipzig, and Riga.

III Allegretto

Skurn _ bo j: sau _ niaia ja _ j: kas ten te _ ka, dau _ nu _ jaj? Ri _ rna til _ to, ri _ rna til _ to, Ii _ rna, ri _ rna ri _ rna m _ to?

Skurn _ bo j: sau _ niai ja _ j: kas ten te _ ka, dau_ nu _ jaj.

Skurn _ ba _ j: sau _ niai ja _ j: kas ten te _ ka, dau _ nu _ jaj.

Ri _ rna tu _ to, ri _ rna ti'i _ to, ri _ rna, ri _ rna ri _ rna tfI _ to.

kas ten te _ ka. dau _ nu _jaj? Ri _ rna til _ to, ri _ rna til _ to, ri _ rna, ri _ rna, ri _ rna til _ ta.

Figure 1. Contrapuntal sutartine

MAY 1998 PAGE 25 During the period of occupation organist at the Cathedral of Kaunas and time he was actively involved in the (1944-91), the Soviet Union regarded continued in that position to the end of Lithuanian national movement and con­ Lithuanian choral and chamber music as his life. He founded the Society of Or­ ducted the choir of the Warsaw very advanced. Vilnius, the new capital, ganists in 1908 and later published Lithuanians Mutual Aid Society. In 1907 again became the main musical center Vargonininkas (The Organist), the first he moved to Vilnius, where he was con­ and home of the State Philharmonic Lithuanian musical journal. In 1919 he ductor of the Kankles Society Choir. (founded 1940), Symphony Orchestra founded a private music school. His origi­ He loved Lithuanian dainos from child­ (1940), and Opera and Ballet Theater nal choral works and folk song arrange­ hood and studied them in detail in his (1948). The State Conservatory was ments are characterized by tenderness, mature years. He adapted many folk songs founded in Vilnius in 1945 and united nostalgia, restraint, and melodiousness. for piano as well as for mixed-voice and with the Kaunas Conservatory in 1949. His most popular choral songs are Where children's choirs. His style is marked by The national song festivals continued ev­ the Sefupe Flows, Dear Lithuania, Spring, his mastery of contrapuntal technique and ery five years (the number of participants Summer Nights, and Magic. 10 He won first chromatic coloration. (Figure 2) reaching eighteen thousand), and several prize for his Mass in C Minor at the Stasys Simkus (1887-1943) was a con­ chamber ensembles achieved international Moniuszko contest in Warsaw. ductor, pedagogue, and composer. He acclaim. Mikalojus Konstantinas Ciurlionis graduated in 1908 from the Warsaw Mu­ (1875-1911) is the most well known sic Institute as an organist and then at­ Choral Composers Lithuanian composer. From 1897 he studied tended the St. Petersburg Conservatory Juozas Naujalis (1869-1934), often composition at the Warsaw Music Insti­ from 1908 to 1914. From 1915 to 1920 called the father of Lithuanian music, left tute. From 1889 to 1893 he attended the he resided in the U.S., where he concert­ his mark as a pedagogue, conductor, or­ orchestral school in Plunge in western ized and conducted. He undertook ad­ ganist, and choirmaster. He studied or­ Lithuania. He studied counterpoint and vanced studies at the Leipzig Conservatory gan and composition at the Warsaw composition at the Leipzig Conservatory between 1921 and 1922. He collected Institute of Music and continued his stud­ in 1901. In 1902 he entered the Warsaw more than two thousand folk-song melo­ ies at the Regensburg (Germany) School Drawing School, moving in 1904 to the dies, many of which he harmonized and of Church Music. He began his career as newly opened Fine Arts School. At this published. While the first Lithuanian

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PAGE 26 CHORAL JOURNAL national song festival was in preparation, is the tragic death of the children at the content and mastery of ostinato tech­ he traveled throughout the country in­ Pioneer Camp on the first day of nique. It also demonstrates his under­ specting the training of choirs. He orga­ Hitler's attack on the Soviet Union. He standing of the timbral and expressive nized and headed the Klaipeda School of displays a powerful imagination in this potential in writing for women's voices. Music and conducted at the Kaunas Op­ work scored for mezzo soprano, baritone, His original works for women's choir rank era Theater. He wrote a great deal in the boys' choir, two , double bass, and him among the most exhilarating con­ periodical press on the necessity for radi­ percussion. temporary proponents of this medium cal improvement in music education. Jonas Tamulionis was born in 1949. (Figure 4). Several ofSimkus's vocal works are ex­ He graduated from the Vilnius Teacher Kristina Vasiliauskaite was born in tensive, including the cantata Farewell to Training Institute in 1970 and subse­ Vilnius in 1956. She comes from a large Motherland, the ballad The Submerged quently studied composition with Balsys family of musicians. Her father played Manor, and his music for the melodrama at the Lithuanian Conservatory, graduat­ trombone in the Vilnius Opera Theater The Gypsies. Simkus not only harmonized ing in 1976. He currently teaches at the Orchestra; her brother Bernardas is the many folk songs but also expanded the Lithuanian Academy of Music. His prin­ organist at the cathedral in Vilnius; an­ gente through polyphonic development. cipal compositions include three sympho­ other brother, Augustinas, plays cello in Antanas RacIunas (1905-84) was a nies, two string quartets, the oratorio Six the Lithuanian String Quartet. She stud­ composer and teacher. He graduated in Dedications to the Town, two cantatas, song ied musicology and composition with 1933 from the Kaunas Conservatory, cycles, and numerous choral works for Balsys at the Lithuanian Academy ofMu­ where he was a pupil of Juozas Gruodis various voicings, including Atsisveikinimas sic, graduating in 1980. From 1983 to (1884-1948). Between 1936 and 1939, (Farewell) and Dainuok, Sesute (Think, the present she has taught at the Ciurlionis he did advanced study in Paris with Nadia my sister), both for women's voices. Art School in Vilnius. Her principal com­ Boulanger, Charles Koechlin, and Igor Atsisveikinimas is an excellent example of positions include Sinfonietta for Orches­ Stravinsky. From 1939 he taught at the the composer's affinity for rhythmic tra, a cello sonata, Chamber Sonata for Kaunas Conservatory and at the Vilnius Conservatory from 1949. His composi­ tional output includes seven symphonies, OJ four , an oratorio, two cantatas, sonatas for piano and violin, and original and arranged folk songs for choir. Among ~ De his most well known choruses are Mill­ ing, A-Milling, Alone; I Know, I Know; I Sat at Table; and Tm Made to Marry a Lad I Don't Love. A - gnus De qui tol lis__ pe - ea - ta Jonas Svedas (1908-71) devoted his A gnus qui lis life to the study and perpetuation of folk music. He led the Lietuva State Song and

Dance Company and served as chair of qui_ tol - lis ea ta ea ta. Folk Music Instruments at the Vilnius ;-.... Conservatory. He crafted over fifty choral compositions and, in collaboration mun di pe ea - ta mun di pe ea -- ta with Balys Dvarionas, composed the Figure 2. Ciurlionis, Agnus Dei Lithuanian national anthem. His simple harmonization for treble voices of the folk song DainaApiedisplays his commitment to preserving original melody with mini­ mal harmonization (Figure 3)

Eduardas Balsys (1919-84) graduated Ta - vo vei - das nu - gru - bo nuo VI! - j~, mies - tu gais - I1!, in 1950 from the Kaunas Conservatory, where he was a pupil of Rae Iunas. In 1953 he completed postgraduate study at the Leningrad Conservatory and joined the faculty of the Lithuanian Conserva­ tory. Balsys composed in large, dramatic forms, juxtaposing folk-song elements with contemporary techniques such as dodecaphony. The underlying theme of Balsys's oratorio Don't Touch the Blue Globe Figure 3. Jonas Svedas, Daille apie

MAY 1998 PAGE 27 Organ. Missa brevis for children's voices, NOTES Linguistics and Poetics of Latvian Folk and Fantasie for Organ. Among her nu­ 1 V. S. Vardys and J. B. Sedaitis, Lithuania: Songs/Essays in Honor of the merous choral works are Varpas (The bell) The Rebel Nation (Boulder, CO: Sesquicentennial ofthe Birth ofKr. Barons and Ein Bernelis per Laukeli (A young Westview Press, 1997),7. (Montreal: McGill-Queen's Universiry man goes through the field). Her compo­ 2 C. D. Flint, The Baltic States: Estonia, Press, 1989), 127. sitional style is marked by lush chromatic Latvia, Lithuania (Brookfield, CN: 4 A. Tauragis, Lithuanian Music: Past and harmonizations and sweeping legato lines. Millbrook Press, 1992), 12. Present, A Medonis, ed., M. Ginsburgas Varpas illustrates both these tendencies as 3 H. D. Rinholm, Lithuanian Folk Song and N. Kanemeckaite, trans. (Vilnius: well as the composer's ability to effec­ Poetics: Remarks on Image1) in Text and Gintaras, 1971),27. tively wed text and music (Figure 5). Context, in V. VIkis-Freibergs, ed.,

Lyg ir is ve - jo, Iyg ir is nie - go gqz - ta ir grjz - tn, ge - lia ir ge - lia. Ant bal- to lIP S2~~~~~~~~~~~~~~~~~~~~~~~~~ jo ______Lyg ir is ve Ant bal- to

sau - si la - pe - liai, sau - si la - pe - liaL Lyg ir is ve - jo, Iyg ir is nie - ko grjz - ta ir grjz - ta, ge - lia ir ge - lia.

Ant bal - to snie - go ant bal - to snie - go sau - si la - pe - liai, sau - si la - pe - liaL Ant bal - to snie - go ant - bal- to snie - go

Figure 4. Jonas Tamulionis, Atsisveikinimas

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PAGE 28 CHORAL JOURNAL 5 R. Misiunas and R. Taagepera, The Baltic States: Yem, of Dependence 1940-1990 (Berkeley: U niversiry of California Press, 1993), 178. Finest Fabrics including with custom-made 6 Pennanent Press and Wash & Tauragis, 87-88. Wear. Superior Quality. Free Color 7 Ibid., 34. Catalog and Fabric Swatches on Request. Guaranteed Satisfaction. gold-tone pins 8 Ibid., 36. Toll Free 1-800-826-8612 9 Ibid., 54. 10 Ibid., 60. HEGENCY _it!ii;'et·l'''/~ltB·w -C]- P.O. Box 8988-CJ Jacksonville, Florida 32211

Al1/ou:trt~ fucce£f iI1/ '97 aJUlback~aifvfor '991 Festival 500 Sharing the Voices AN INTERNATIONAL CHORALFESTIVAL St. John's, Newfoundland July 1-11, 1999

SPECIAL GUESl~amber Choir "" Chanticleer '" Vancouver _

T CONDUCTORS SPECIAL GUES .' Bob Chilcott % Bramwell Tovey .oG ald Fagan ".,. D'lan e Loomer " er from $6 ea. SPECIAL CLINICIANS h~ ' ,> R Murray Sc er including color enameling! ill <;, Luc Gu ore d "'J Washburn % Nancy Telfer " on • hanging bars additional with custom engraving Phone (888) 876-1883 ...... Come Sing With Us! toll-free ~....·~.1 ...... ~ 'c) W~rkshops, clinics, concerts and massed performances ask for Barry ...:...... " Smgers and conductors of all ages welcome

~m< ..... fI Group and individual participation '.... ~ Deadline for choir consideration is May 15, 1998. ~tti7 Call for your application form nowl FESTIVAL 500, 7 Plank Road, St. John's, Newfoundland, Canada AlE 1H3 Tel: 709 738-6013 Fax: 709 738-6014 www.festivaI500.com

MAY 1998 PAGE 29 -~ 11M ~==E R I c All P R I:J D U C T I:J N 5

MidAmerica Productions & Great Concerts Abroad Announce SUMMER 1999 VVednesday, June10-Sunday,June21, 1999

VISIT CLASSICAL PRAGUE & VIENNA and perform

Mozart's Requiem Peter Tiboris, conductor

with the Bohuslav Martinu Philharmonic of the and world-class soloists

Prague-Dvonlk Hall or Zovhim Palace Kromeriz-Bishop's Castle Vienna-Musikverein or Castle Hill

Tours with professional guides. In Vienna, visit Schonbrun, Belvedere, Kunsthistoriches Museum of Art and Culture and Staatsoper. In Prague, visit Mozart's residence, Hradeny . Castle, Palace of Culture, New Town and Old Town Special nights out in Vienna and Prague

Airfare (including departure taxes) from New York to Prague, and Vienna to New York. Lodging in Superior and First Class hotels based on double occupancy - five nightslPrague, five nightsNienna. Breakfast and lunch or dinner each day. Transportation in air-conditioned busses. Luggage and portage (one bag per person) and local taxes. One free package per 30 full-paying participants.

$2595 based on double occupancy

Group & individual applicatioqs accepted until November 15, 1998

For further information, contact Sara Bong at MidAmerica Productions Tel: 212/239-0205 • Fax: 212/563-5587 • E-mail: [email protected] REHEARSAL BREAKS It's a Major-Key World by Nancy Cobb

NE OF THE skills students Following are some examples of stan­ vocalize when they hear the major chord have difficulty mastering in col­ dard warm-ups that have been changed and "yoo" when they hear the minor O lege sight-singing and ear-train­ to minor or alternating major and minor chord. Random playing of major and mi­ ing classes is singing melodies in minor (examples 1-6). Singing melodic minor nor up by half-steps forces them to think keys. Sometimes even the better-than av­ scales from dominant up to tonic and about what they are hearing. erage students have trouble, and this dif­ back down is particularly important (see As students advance, patterns involv­ ficulty continues throughout the freshman example 5). Example 1 also can be used ing more challenging scales (modal, and sophomore years. Frequently, students as an ear-training exercise. After playing whole-tone, octatonic, etc.) should be struggle even singing the minor triad the major or minor triad before the stu­ added to the warm-up vocabulary, par­ when trying to establish the key. They dents are to sing, ask them to use "yah" to ticularly when music being rehearsed uses might sing a major triad or do-re-sol-re­ do or a variation of the two (i.e., out of tune). This struggle continues through­ I'" Ji 4 ;0 3 ,I J14 ;0 3 I~P~pD; I~JP~pO; I out the melody, particularly in the upper tetrachord of the melodic-minor scale, both ascending and descending. 2 I' e JP 4 fJ 3 I~jJ~pO; I j:J pO; I £J F tr J One of the causes for this difficulty Melodic minor may stem from the fact that most stu­ dents have been singing warm-ups exclu­ 3 I'e f3 fJ n n Igr a [oJ F I WE! B fJ IB!J 1p 3 sively in major keys. Piano majors as a Harmonic minor group generally have less trouble in sight­ ll singing and ear-training than do vocalists 4 I'" f3 11 n JP I gr~a d F I WE! B fJ 111 !J 1p 3 I and other instrumentalists, perhaps be­ cause minor keys and scales are intro­ 5 1'1 I F ~r I,j I a. IprJ ,J 11 m111F r j I,a. duced very early in their training. Those 10; n interested in the pedagogy of ear training Using third as starting pitch know that the aural experiences a student brings to college-level study are extremely 6 I", n US J 111 m US J I~m US; I{ijiro US ; important in building basic musicianship Dorian skills. 7 I' ~ J I F~ I; ~ II'~ ~e ~F To provide a broad spectrum of aural e 3 r 0 i ~ ~ F r : = == = experiences, choral conductors and voice Phrygian teachers should try to include exercises in J Id ~r ~; I,J minor and major keys. Exercises in minor 81"'3 J ~; Id13 fO J keys should include all three forms of the Lydian minor scale. Chordal warm-ups that use 9 l'e11 J 1&10 Ad ffl&J I-N-V-I should occasionally include i-iv­ ro 1m V-i or i-iv-v-i (for help in modal singing). Mixolydian If this kind of rote training could start at 10 1'.;; r J J Inn J Id F ~r ~; II,m ~j1 J the elementary level, problems with sing­ ing minor melodies might diminish. Whole-rone 11 1'''11)1 Ji.J 1P lim 111 I %1 Ji.J mJiJ 111m 1100 J Ocraronic Nancy Cobb is Professor of Music at Oklahoma Baptist University, Shawnee, 12 I' e tJ~nllJ I~nllJP J 111m nr I jJ miJ I min F Iin Ef r I Oklahoma. Figure 1.

MAY 1998 PAGE 31 those elements. These more challenging octatonic warm-up, focuses on repetition scales can hone singers' abilities to sing of patterns within the scale. Whole-tone whole steps and half steps in tune. Ex­ and octatonic scales can be transposed amples 7-10 are designed to isolate inter­ only once (whole-time) or twice vals in various modes. Example 11 is a (octatonic) before the patterns begin to whole-tone exercise. Example 12, an repeat themselves. • Low-cost rental music for In an informal poll of my fifty-mem­ choruses ber university choir, five students indi­ • Ideal for small choirs and cated that some of the warm-ups in their small budgets CHORAL DIRECTOR high school experiences included minor • Over 700 titles (Part Time) keys. They were some of the best readers • Spans the Renaissance to the in the choir. I asked my choir students 20th Century Experienced, creative church studying voice if any of their teachers • Sacred and secular required them to sing warm-ups in mi­ • Large and small works musician needed to direct at least nor. Not one raised his or her hand. In­ • Orchestra parts for many titles two adult choirs in a large-scale strumentalists whose warm-up routine is • Call Monday-Friday, music program of a 2200- most often major-key oriented experience 9-5 Eastern time member congregation. Send similar problems. Choral conductors can resume by May 10, 1998, to: increase the musicianship of all singers by routinely including vocalization patterns Music Search Committee not only in minor but also in modal, whole tone, and other less frequently used First Presbyterian Church scales. P.O. Box P Libertyville, IL 60048 -C]-

SPECIAL EVENING SESSIONS: -15, 1998 Albert McNeil, Jubilee Singers Paul Salamunovich, L.A. Master Chorale Ronald Staheli, Brigham Young University OTHER CLINICIANS TO INCLUDE: Lynn Bielefelt, David Conte, Greg Ellis, Iris Levine, Katharin Rundis • Instrumental Conducting • Vocal Training in Choir Rehearsal • Sight-Singing in the Choral Classroom • African-American Choral Traditions • Programming for Choral Concerts • Building a Successful School Choral Program • Women's Choir Techniques • Developing Your Own Choral Warm-ups • Methods for the Middle School Changing Voice

The workshop will conclude with a sp~cial performance presented by all participants.

Sponsored by: Cal State University, Northridge & Mt. San Antonio College For more i contact: California State University, Northridge, Choral Music Dept. 18111 Nordhoff· Northridge, CA 91330-8314 111\\\ or call: (818)677-3171 or (909)594-5644, ext. 4334 NORTHRIDGE

PAGE 32 CHORAL JOURNAL REPERTOIRE & STANDARDS COMMITTEE REPORTS

Children's Choirs to a varied and intriguing palette of requires. When unsure about what kind of sounds. sounds to use, listen to original artist or cast "1 love that children's choir sound!" The vocal and choral literature of many recordings. Taking the age differences ... and what sound would that be? cultures requires us to vary the sounds of ANY CHILDREN'S choir our choirs. One sound is no longer conductors remember the not enough for a good children's chorus. M so distant past when the Today's better children's choirs sing many children's choir sound was taking North kinds of music with many different America by storm. When we talked about sounds. that particular sound, we could identifY a AnnR. Small specific aural image. It was a distinct and Stetson University ethereal choral tone produced by chil­ Deland, Florida dren between the ages of eight and fifteen years, singing high tessitura music in head voice. That sound has become a model for aspiring conductors ofschool age sing­ Jazz and Showchoir ers because, for the most part, it is a Some Similarities and sound that is produced in a vocally cor­ Differences Between Classical rect way. The head voice when adequately and Non-Classical Choral supported by the breath and focused Singing through correct diction is free of strain HE VOCAL instrument must and not so susceptible to imposed make physiological adjustments vocalisms transferred from pop, gospel, in order to create a "show" sound or folk/rock music. It is a healthy natural T or a "jazz" sound. Each of these sounds is sound. Children using this voice while different one from the other and from the singing art or folk literature with tessituras traditional choral sound. If we are peda­ in the gl to g2 range actually have diffi­ gogically well grounded, we can teach stu­ culty singing badly. dents how to produce these sounds by Curricular emphases on multicultural showing them how to adjust the size of studies, our culturally diverse society, and the resonating chambers, the position of opportunities to hear international choirs, the palate, and the openness of the jaw as however, present a wide range of other each relates to the sound any given style possibilities for children's choral tone. Culturally diverse music is finding its way into the repertoire of this continent's children's choirs. In striving for authentic performance, versatility in choral color is If Your Rack Won't Roll an imperative for the sake of interpreta­ tion. The choral director who is commit­ with a SOO-Ib. Load, ted to excellence in performance knows Here's One That Will. that the choir must adopt, wherever pos­ sible, the appropriate vocal colors and • Nestable "Z" racks; Salesmen's rack; Garment stylistic nuances that serve as imprints of bags and covers historical and cultural authenticity. Com­ bining older children's choirs with ., Easy knockdown design for convenient UPS shipment younger choirs, using breath-supported ., Full 30-day satisfaction guarantee on ALL products chest voice, mixing chest and nead voice, exploring vocal quality, modifYing classi­ Call 888/866-9827 cal diction, moving and singing simulta­ Fax 888/808-9046 neously, mixing children and adult voices, or E-mail accompanying with authentic instru­ [email protected] ments-all these approaches contribute for a free brochure.

MAY 1998 PAGE 33 between your students and those on the We must insist on the same use of the are authentic to their genre, the elements recordings into account. Instruct your stu­ breath mechanism in every singing situa­ that determine style are basically the same dents on how to assimilate the same tion. for all musics. Classical choral music, show sound, while using proper technique. We must research and prepare non­ music, and jazz and pop music require Teach them the difference between imi­ classical tunes with the same thorough­ the same amount of research and decision tating a particular voice and imitating a ness we use in studying traditional classical making. The director must have knowl­ particular sound. repertoire. Do we know the difference edge of the differences in performance The breath management process must between the sounds of a show tune from practices and musical inrerpretation, as be exactly the same for classical and non­ the 1950s and one from the 1980s? Do well as an understanding of how to peda­ classical choral singing in order to ensure we know how to vocally and stylistically gogically and musically meet the vocal, healthy vocal production. While muscu­ teach the difference? Not all jazz, pop, intellectual, and artistic demands of each lar constriction may be often observed in and Broadway tunes are alike. pIece. non-classical performances, it is no more While the application of stylistic dif­ Diane R. Spradling acceptable there than in classical singing. ferences helps produce performances that western Michigan University Kalamazoo, Michigan

Traditional, Yet Male Choirs

"'.:,. JACKSON IIJ!RKf.Y'S The Male Choir .Anniversary Carols in the Church F YOU conduct a church choir, have you considered adding a male chorus I to your program? There are many Plan now for the Holidays with this ways to go about creating a male choir Ten Choral Settings wonderfully unique set of carols! that can add variety to the musical offer­ of for Mixed Cborus, Harp, Tambour and Percussion ings in your church. At Oxford (Ohio) Beloved United Methodist Church, we began a Christmas Melodies Contact us at our web site jor :fi:£g, perusal copies www.berkey.com male choir seven years ago as an out­ growth of the men's fellowship group. We I70 N.E. 33rd Street· Ft. Lauderdale, FL 33334 meet early Sunday morning for coffee and Telephone (954) 563-I844 FAX (954) 563-9006 donuts, a fellowship time followed by a rehearsal to prepare for singing at the morning service. The time commitment required is minimal. Since we are in a The Intelnatienal Festi-val ef college town, we are able to draw some I j " ' college men who want to sing but aren't ,I . Chul€D Clieils able to make time for the midweek re­ hearsal of the chancel choir. The congre­ Edinburgh, Scotland gation responds enthusiastically to the August 16-26, 1999 sound of men singing in worship. Creat­ ing a male choir in the church can help held in conjunction with the recruit men who may be willing to make Edinburgh International Festival Fringe the transition into the SATB choir. Other possibilities include combining with a children's choir or boy choir for SATB Jonathan Willcocks musIC. Artistic Director It is best to keep repertoire simple at Choirs interested in participating should contact one of the officiallFCC agents listed the beginning, to create an atmosphere of below for further information and an application form joyful service without undue performance pressure. Singing in unison from hym­ Peter's Way International Quest Journeys 5i!Select nals is the simplest approach. For groups 25 South Service Road 5008 34th Street South TRAVEL SERVICE singing in parts, the following collections Jericho, NY 11753 SI. Petersburg, FL 33711 offer some basic repertoire: Tel: 800·225·7662 Tel: 800·678·8965 BRITISH A1RWAYS:::;iliio

PAGE 34 CHORAL JOURNAL Rise Up, 0 Men ofGod! (2 vols.) accompanied anthem ("Great Is Women's Choirs David N. Johnson, ed. Thy Faithfulness"), a prayer TTBB response ("God Is So Good"), and HE R&S Committee on Sacred Music Press, CS 81, CS 82, a benediction response ("God Be Women's Choirs is served by $4.95 each with You Till We Meet Again"). T seven Division Chairs, many of These are four-part settings of The call to worship and anthem are whom organized women's honor choirs familiar hymns with the melody in accompanied. Very accessible for the 1998 division conventions and the second tenor. There are twenty­ settings. will be assisting with the national women's six tunes in volume 1 and honor choir in 1999. Please let these chairs twenty-seven in volume 2. Some Five EarlJ American Hymn Tunes know how they can help you and your Christmas and Easter hymns are Charles Edward Lindsley, ed. women's choirs. They will also welcome included. Alternate texts are Three-part male or mixed your help in planning reading and special provided for many of the hymns. Oxford University Press, 94.103, interest sessions for division and national $1.20 conventions. Hymns and Anthems for Male These unaccompanied pieces are TahmeAdinolfi (Eastern) Hjalmar Hanson, ed. upper parts of similar range that can Sandra Peter (North Central) Kjos, ISBN 0-8497-4116-5, $3.95 Nancy Menk (Central) use by military service choirs, this Committee on Male Choirs Melissa Arasi (Southern) <770/509- collection of forty-three hymn tunes 6133 Fax> generally puts the melody in the Susan McMane (Southwestern) settings, but most are simple and Cindy Busler (Northwest) <206/565- homophonic. Several patriotic 6488Phone/Fax> pieces are included.

The Light ofthe World Paul Sjolund, ed. TTBB Fred Bock Music, BG0797, $5.95 This is a collection of fifteen arrangements of familiar hymns and spirituals, some accompanied. The settings are more varied than those in the two collections above and have a higher level of difficulty.

Thl'ee for Men You are invited to participate Henry Gerike in one of the TTBB Concordia, 98-3026, $1.20 This set contains a call to worship ("Children of the Heavenly Father"), an anthem based on the Vaughan Williams Sine nomine, and an original two-part benediction AND CUSTOMTOURS response with an optional c­ instrument part. Moderately easy. Virginia Beach, Toronto, Myrtle Beach & New York City Singing Men on Sunday Moming Fred Bock, arr. CALL 1-800-533-6263 or VISIT www.greatfestivals.com for details TTBB Fred Bock Music, BG2114, $1.20 Featuring First-Class Adjudicator/Clinicians, Accommodations, and Performance Sites. This set includes a call to worship Offering Educational and Exciting Music Festivals (or Mixed Chorus, Show Choir, Women's Chorus, Men's Chorus, Madrigall Chamber Choir and Jazz Choir. Established in 1984. Choose Comments Only. Festival Rating, or Competition. ("Rise Up, 0 Men of God"), an

MAY 1998 PAGE 35 "Jazz For The Concerlt Choir" "A remarkable collection of works!" ACDA Choral Journal Rondeau Press Shirley Nute (Western) fornia 91125. Please include a 9x12 self New York, NY 1 0128 (212) 496-4544 The resources below also may be help­ addressed envelope. ful to conductors of women's choirs. Women's Chorus Directory Women's Chorus Repertoire Exchange The R&S Committee for Women's NOW on CD! Participants send in repertoire sugges­ Choirs is identifYing adult, community­ • Handel's Messiah Chorus Parts tions twice yearly and receive an anno­ based women's choirs in the U.S. (and Melody and piano accompaniment for tated listing of all the other participants' eventually globally). If you conduct such Soprano, Alto, Tenor or Bass; ea. CD: $22.95 recommendations. For further informa­ a group or know of adult women's choirs, • Aria Orchestral Accompaniments tion or an application form, contact please contact Monica Hubbard with the With diction step, melody and orchestral accompaniments; each CD: $39.95 Women's Chorus Repertoire Exchange, following information: name of choir, • Polly Wolly Doodle for Children Ruth Ballenger, Coordinator, 559 North name of conductor, name of business or Fantasy Orchestra on CD for 24 Americana EI Molino Avenue, Pasadena, California administrative manager, address, phone/ songs with piano/vocal score: $34.95 91101-1103 or . fax, e-mail, and the organization(s) with • N. Vaccai: Practical Method Women's Chorus Repertoire Data Base which the choir or its conductor is affili­ Features recitation, repetition, diction and The 1996 edition contains approxi­ ated (ACDA, Chorus America, GALA, melody with piano accompaniment in high mately twelve hundred titles of music for IFCM, Sister Singers Network, etc.). A or low; each CD (high or low:) $22.95 women's voices and is available via e-mail list of these choirs will be available via e­ • M. Singher: 106 Recitations from in mail and ACDXs homepage by next sum­ 2 CDs of 106 French poems set to music by It french composers with translation: $42.95 either text or FileMakerPro versions. mer. ~ Pocket Coach Publications is also on the ChoralNet Web Site . The 1997 edition is nearly Committee on 'WtJmens Choirs Tel: (510) 785·1739 • Fax: (510) 782-7930 double in size with over 2400 listings. It E-mail: [email protected] is available in hard copy only. Send $15 Website: http://ourworld.compuserve.com/ -CJ- homepages/pocketcoach to cover duplicating and mailing expenses to Monica Hubbard at California Institute

Sacred Choral Series Innocent SoundS Marie Stultz, Editor .Ii·om Cllscill HilI! Recorded at Merrimack Col­ Savior, Teach Me Day by Day I Lo, lege's Cascia Hall, this beautiful How a Rose E'er Blooming I Pie Tbe Tnbh ChDrus QfNnq En814nJ new CD features music by great lit M""itnllck CD/kge Jesu, Faure I What Child Is This?, composers such as: Vaughan Vaughan Williams I The Call, Fraturing Williams, Vivaldi, Morley, The Trebk CbDrw DfNnu£ngLtnJ Vaughan Williams I 0 Holy Night I ChorrtlSnieJ Brahms, Faure, and Praetorius Zumba, Zumba I Three Baroque all performed splendidly by the Sacred Songs, Vivaldi I Innocent MARIE STUI:I'Z Treble Chorus under the direc­

Sounds, Ingalls I Haneirot Halalu, Pmnim Ruonlint Df tion of Marie Stultz. Shawn. 8m Suinbt1g} - V"b/J-tir rineinu Celebrating its twenty-third season, the Treble Chorus of Mari~ Stultz, FOlwder and Arristic Di1'(cfor New England at Merrimack Col­ Valuie J. B~cker. Harpsichord lind Piano - Richard Stultz. Organ Secular Choral Series Brintl ;\1c&c. Cdl" lege has experienced major tri­ Marie Stultz, Editor umphs in music performance and critical acclaim as New Eng­ Welcome, Welcome Every Guest I land's standard bearer for adven­ Child's Play, Calabro I Misteresse turous programming of the Mine, Morley I Horseshoe Nail / world's most important choral The Man in the Moon I Simple literature for treble voices. Gifts I The Little Sandman, Brahms, lOde to Shelley. CD-39-IS $16.95

PAGE 36 CHORAL JOURNAL ACDA STUDENT CONDUCTING AWARDS APPLICATION GUIDELINES

The ACDA Student Conducting Awards were initiated during the 1993 ACDA National Convention in San Antonio, Texas. This highly successful event will again be offered at the 1999 ACDA National Convention in Chicago. Originally underwritten by the University Music Service in Hershey, Pennsylvania, the awards are now funded through ACDA's Endowment Trust. The objectives of the Student Conducting Awards are three-fold: 1) to acknowledge and reward outstanding graduate and undergraduate student conductors; 2) to encourage score preparation and advancement of conducting skills; and 3) to promote student activity at the ACDA national convention. The following cash prizes will be awarded to the winners of the final round: first prize, graduate: $1000; second prize, graduate: $500; first prize, undergraduate: $500; second prize, undergraduate: $250. In addition, the sixteen semifinalists-eight undergraduate and eight graduate-will each receive a scholarship funded by corporate sponsors to defray costs to attend the national convention.

SELECTION PROCESS

I. ELIGIBILITY REQUIREMENTS Applicants must meet the following criteria: A. Hold valid ACDA student membership

B. Be a full-time undergraduate student (junior or senior status) or a full-time graduate student at a college or university in the United States

C. Submit the following materials: 1. Application form 2. Verification of taping validity (See II-H below) 3. Verification by a university official of the student's class standing and full-time status 4. Audition videotape

II. VIDEOTAPE PREPARATION GUIDELINES Applicants will submit a videotaped audition that conforms to the following guidelines: A. Ensemble preparation 1. The choir may be selected by the applicant. 2. The choir is to be fully familiar with the music to be presented on the video audition. The choir should NOT BE SIGHT­ READING during the audition taping. 3. The choir is to be prepared by a conductor other than the applicant. The applicant is not to prepare the choir in advance of the taping, nor will the applicant have first-hand knowledge of the choir's work in rehearsal or performance on the audition literature.

B. Musical criteria-undergraduate 1. Undergraduate applicants will conduct two compositions for mixed chorus in the video audition, including: a. a sacred seventeenth- or eighteenth-century accompanied work, and b. a secular unaccompanied composition from the nineteenth or twentieth centuries. 2. Excerpts of longer works may be selected. 3. Keyboard reductions may be used for orchestral accompaniments.

C. Musical criteria-graduate 1. Graduate applicants will conduct two compositions for mixed chorus in the video audition, including: a. an unaccompanied work from the Romantic period, and b. an accompanied twentieth-century composition that has mixed meters. 2. Excerpts of longer works may be selected. 3. Keyboard reductions may be used for orchestral ac~ompaniments.

D. Video conducting and rehearsal 1. The applicant should rehearse the choir in such a way as to focus on gestural communication, rehearsal technique, and the development of the musical product. 2. The video judges will place primary value on gestural language and rehearsal technique.

MAY 1998 PAGE 37 E. Camera angle 1. A camera angle will be selected that shows a full frontal view of the applicant and all conducting movements. 2. The choral sound and comments of the applicant must be clearly audible on the tape. 3. The applicant will begin each selection by announcing the title and composer of the work to be presented.

F. Personal identification. The applicant will not identif}r himself/herself, nor the institution of higher learning on the recording.

G. Audition format and duration 1. The videotaping of each selection will be consecutive. 2. The videotape will not be edited in any manner. 3. The videotape will show the applicant conducting and rehearsing the choir for a minimum of ten minutes and a maximum of twelve minutes. 4. It is recommended that time be equally divided between the two selections.

H. Verification 1. The videotaping will be monitored by two ful4 active ACDA members (non-students), who will certifY on the application form that: a. the applicant has not previously rehearsed the music with the choir nor heard the choir rehearse or perform the music presented on the video tape, and b. the application meets all the criteria specified in these guidelines.

1. An incomplete or erroneous application will disqualifY the applicant.

J. Mail the completed application form, videotape, and supporting documentation in a single package to Gene Brooks, ACDA Executive Director, P. O. Box 6310, Lawton, Oklahoma 73506, postmarked no later than October 1, 1998. All application materials become the property of the American Choral Directors Association and will not be returned to the applicant.

III. VIDEOTAPE REVIEW PROCESS A. The National Student Conducting Awards Committee, hereafter known as the "NSCA Committee," will appoint a team of video judges who will review all tapes with the goal of selecting a maximum of eight undergraduate and eight graduate students to advance to the semifinal round.

B. The video judges will place primary value on gestural language and rehearsal technique.

C. Applicants for the ACDA Student Conducting Awards will be notified on or before December 1, 1998, of the student conductors selected to advance to the semifinal round in Chicago.

CONVENTION SESSION FORMAT

I. SEMIFINAL ROUND The semifinal round for both the undergraduate and graduate levels will be held during the ACDA national convention for the purpose of selecting a maximum of four undergraduate and four graduate students to advance to the final round. The following guidelines will be followed. A. Audition literature. Choral repertoire for the semifinal rounds will be selected by the NSCA Committee and mailed to the semifinalists by December 24, 1998.

B. Schedule. The undergraduate and graduate semifinal rounds will be held concurrently on February 24, 1999, in Chicago.

C. Demonstration choir. A demonstration choir selected by the NSCA Committee will be provided for the semifinal round. The choir will be prepared to sing the selections initially for each student conductor in a straight-forward manner, without nuance or extreme interpretation, and will follow the directions of each conductor as much as possible.

D. Judges. Judges will be selected by the NSCA Committee. The identity of the judges will be announced at the end of the round. A non-scoring adjudicator also will be provided to offer consttuctive written comments on each student's conducting. Student conductors will receive these comments via mail no more than four weeks after the event.

PAGE 38 CHORAL JOURNAL E. Conducting order. The semifinalists will meet in a separate room to draw for conducting order and will remain there except when they conduct in the performance room.

F. Conductor identification. Each conductor will be identified before the judges and the audience by letter name only.

G. Semifinal audition duration. Each semifinalist will be given eight minutes to conductlrehearse the choir. A timer will be present to monitor the conductor's progress.

H. Scoring. Conductors will be evaluated on a numerical scale on items including but not limited to: 1. Conducting technique a. clarity b. use ofleft hand c. cuing d. releases 2. Interpretation a. tempo b. expression/style c. dynamics c. facial expression d. body language 3. Rehearsal technique a. eye contact b. precision c. control of singing diction d. confidence e. effectiveness of verbal directions f. pacing g. attention to rhythmic and tonal acuity

I. Tabulation and results. After all semifinalists at each level have finished conducting, the judges will rank the students without conferring. The scores will be tabulated by two division chairs of the R&S Committee on Youth and Student Activities. The four highest-ranking students at each level selected by the judges will advance to the final round.

J. Tie score. Two or more conductors involved in a numerical tie in the ranking will be recalled for an additional five-minute period of conducting.

K. Public access. Both rounds of the ACDA Student Conducting Awards will be open to convention registrants.

II. FINAL ROUND The format of the final round for both the undergraduate and graduate levels of the Conducting Awards will be similar to the semifinal round, with the following exceptions: A. Conducting participants. Only those selected to advance from the semifinal round will participate.

B. Schedule. The final undergraduate and graduate rounds will be held on February 26, 1999, in Chicago.

C. Choir. Conductors will conduct the same choir with which they rehearsed in the semifinal round.

D. Non-scoring adjudicator. There will not be a non-scoring adjudicator for the final round.

E. Order and score tally. The undergraduate fmalists will conduct first, after which the votes of the judges will be tallied. The graduate finals will follow immediately. After the graduate finals are completed and votes are tallied, the winners of both the undergraduate and graduate awards will be announced.

DISCLAIMER No member of the NSCA Committee, nor any judge, teller, or person connected with the selection of semifinalists or conducting of the semifinal or final rounds shall be involved with any decision involving that person's student (over the past three years) who has applied or been selected as a participant in the ACDA Student Conducting Awards. The NSCA Committee is under no obligation to award semifinal, final, or winner status if satisfactory candidates cannot be identified. All decisions of the judges are final.

MAY 1998 PAGE 39 ACDA Student Conducting Award Application 1999 ACDA National Convention - February 24-27, Chicago, Illinois

Nrume: ______Last First M.L fIomeaddress: ______Street City State Zip

School address: ______Street City State Zip

Primary telephone: ( Secondary telephone: (

Status: ___ full-time undergraduate junior/senior ___ full-time graduate ACDA student member? YES NO

College/university: ______

SUPPORTING DOCUMENTS TO BE ENCLOSED 1. Statement from a university official verifYing class standing and full-time status 2. Complete resume of conducting experience

ENDORSEMENT OF MUSIC FACULTY MEMBER at applicant's college/university who is afull active member of ACDA

I hereby endorse the above applicant for the ACDA Student Conducting Awards. I have read and understand the application requirements and certifY that this student meets them.

Signature: ______Date: ______

Tideandschool: ______Day telephone: (

VERIFICATION OF VIDEOTAPING PROCEDURE BY TWO FULL, ACTIVE (NON-STUDENT) ACDA MEMBERS:

We certifY that the enclosed videotape is an unedited conducting peiformance by the student applicant and that this student did not rehearse the choir in advance nor hear the choir rehearselpeiform the music prior to the production ofthis video.

Date of taping: ______Nrume of choir: ______

Composition no. 1: ______Composer Title Composition no. 2: ______Composer Title Nrume of ACDA member: ______Signature: ______(Please print) Nrume ofACDA member: ______Signature: ______(Please print)

STATEMENT OF APPLICANT

I certify that I have read, understand fully, and accept the regulations for participation in the ACDA Student Conducting Awards program and that all statements made on this form ate true.

Applicant signature: ______Date: ______

Application and videotape must be postmarked by October I, 1998, and sent to Gene Brooks, Executive Director, American Choral Directors Association, P. O. Box 6310, Lawton, Oklahoma 73506.

PAGE 40 CHORAL JOURNAL 1999 ACDA National Honor Boychoir Chicago, Illinois February 24-27, 1999 Harvey Smith, Conduct01· Application Form

Please photocopy this page. Please type or print legibly. Send separate application form and audition tape for each applicant. A $15 nonrefundable application fee (check or money order payable to ACDA) must be paid for each applicant. There is no limit on the number of applicants from a single school or chorus. Organizations may submit one check for multiple applications. PLEASE DO NOT SEND CASH OR PURCHASE ORDERS.

Boy's name: ______~------Date of birth: ___1 ___ 1 __ _ Last First Middle

Homeaddress: ______Mailing City State Zip

Home phone: ( Grade in school (Fall 1998) _____

Statement of Obligation We have read the entire application form and fully understand that selection for the honor boychoir brings with it significant musical and financial obligations. We understand that as a member of the honor choir, the applicant must pay a $70 participation fee and that ACDA is not responsible for the costs of the applicant's transportation, lodging, or meals. We further understand the applicant will be staying at the hotel designated by the convention committee (approximately $25 per person per night for quad occupancy) for four nights. We understand the applicant must arrive in Chicago for registration and the first rehearsal on Wednesday, February 24, 1999, and the applicant must attend all honor choir rehearsals and the convention performance on Saturday afternoon, February 27. The applicant will be committed to having the music fully prepared according to the instructions included in the music packet.

Boy's signature: ______Date: ______

Parenti guardian's signature: ______Work phone: ( ______Dare: ______

Chaperone Statement of Obligation If the applicant is selected for the 1999 ACDA National Honor Boychoir, I will chaperone him to Chicago, February 24-27, 1999. I understand I will be staying in the hotel designated by the convention committee (approximately $50 per person per night for double occupancy). I further understand I will be responsible for ensuring that the applicant attends all honor choir rehearsals and the convention performance. I understand that ACDA is not responsible for the cost of my transportation, lodging, or meals. I certifY that I am at least twenty-one years of age as ofJune 25, 1998.

Chaperone's signature: ______Work phone: ( ______Date: ______

Chaperone's relationship to applicant: ______

Director Information

Name of sponsoring choir: ______

Director's name: ______ACDA membership no.: ______

Address: ______Mailing City State Zip

Daytime phone: ( ______Evening phone: (

MAY 1998 PAGE 41 Director Recommendation Circle appropriate response: Poor-Excellent Poor-Excellent

Vocal Technique 1 2 3 4 5 Tone 1 2 3 4 5 Intonation 1 2 3 4 5 Diction 1 2 3 4 5 Confidence 1 2 3 4 5 Leadership 1 2 3 4 5 Enthusiasm 1 2 3 4 5 Commitment 1 2 3 4 5 Responsibility 1 2 3 4 5 Self-discipline/focus 1 2 3 4 5 Endurance 1 2 3 4 5 Independence in part-singing 1 2 3 4 5

Expected voice change? No Possibly Comment:

Recommended voice part: ______Second-choice voice part:

Additional comments: ______

Director's signature: ______

Audition Procedure

The audition tape. An unedited cassette must include all the following:

1. My Country 'Tis o/Thee {America}. Starting on the pitch listed for boy's voice part, boy must sing verse one, unaccompanied.

Soprano I: C one octave above middle C Alto I: F above middle C Soprano II: A above middle C Alto II: D above middle C

2. A vocalise sung to demonstrate extremes of boy's range. Begin in mid-range and move upward by half steps. Repeat procedure and move downward by half steps. Vocalise must be performed unaccompanied after pitch is given.

3. A prepared vocal solo of boy's choice, accompanied or unaccompanied. The boy is asked to announce the tide before beginning. Please do not announce boy's identification information on the tape. Instrumental introduction should be very brief (2-3 measures). The object of this solo is to demonstrate the boy's vocal quality and musicianship.

Tide: ______Composer: ______

4. Please label tape and cassette case clearly with the boy's name, director's name, choir, city, and state. Rewind tape. Tapes will be reviewed in a manner that will not reveal the boy's name or choir until after selection is made. Edited tapes will result in the applicant's disqualification. Audition tapes will not be returned. r:---~:-'7'-;-7"C:~-: . , .' :'" - ~. -,:.'., ' -- , i ·JUlle25,.i;98 ..

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PAGE 42 CHORAL JOURNAL 1999 ACDA National High School Honor Choir Chicago, Illinois February 24-27, 1999 Jing-Ling Tam, Conductor

Application Form Please photocopy this page. Please type. Send separate application form and audition tape for each applicant. A $15 nonrefundable application fee (check or money order payable to ACDA) must be paid for each applicant. There is no limit on the number of applicants from a single school or chorus. Organizations may submit one check for multiple applications. PLEASE DO NOT SEND CASH OR PURCHASE ORDERS.

General Information. You may audition for only one honor choir. High school women may be placed in either the High School Honor Choir or the Women's Honor Choir.

Singer Information. Applicant must be between ages sixteen and eighteen as of June 25, 1998.

Preferred voice part (circle one): SI S2 Al A2 Tl T2 Bl B2 Voice range: ~~.==~ ,:~~== Grade level: ___

Name: ______Date of birth: ___/ __/ ___ Last First Middle

Home address: ______Mailing City State Zip

Home phone: ( ______Parent/guardian work phone: (

Statement of Obligation We have read the entire application form and fully understand that selection for the honor choir brings with it significant musical and fmancial obligations. We understand that as a member of the honor choir, the applicant must pay a $70 participation fee and that ACDA is not responsible for the costs of the applicant's transportation, lodging, or meals. We further understand the applicant will be staying at the hotel designated by the convention committee (approximately $25 per person per night for quad occupancy) for four nights. We understand the applicant must arrive in Chicago for registration and the first rehearsal on Wednesday, February 24,1999, and the applicant must attend all honor choir rehearsals and the convention performance on Saturday afternoon, February 27. The applicant will be committed to having the music fully prepared according to the instructions included in the music packet.

Applicant's signature: ______Date: ______

Parent/guardian's signature (if applicant is less than 18 years of age): ______Date: ______

Chaperone Information. Each singer who is less than 18 years of age must be accompanied by an adult chaperone, age twenty-one or older as ofJune 25, 1998.

Name of chaperone: ______Relationship to applicant: ______

Home address: ______Mailing City State Zip

Daytime phone: ( ____,-- ______Evening phone: (

Chaperone Statement of Obligation If the applicant is selected for the 1999 ACDA National High School Honor Choir, I will chaperone the applicant to Chicago February 24-27, 1999. I understand I will be staying in the hotel designated by the convention committee (approximately $50 per person per night for double occupancy). I further understand I will be responsible for ensuring that the applicant attends all honor choir rehearsals and the convention performance. I understand that ACDA is not responsible for the cost of my transportation, lodging, or meals. I certify that I am at least twenty-one years of age as ofJune 25, 1998. Chaperone's signature: ______Date: ______

MAY 1998 PAGE 43 DirectDr InfDrmatiDn and RecDmmendatiDn Director must be an ACDA member in good standing

Name: ______, membership no.: ______

tIomeaddress: ______Mailing City State Zip

Daytime phone: ( ______Evening phone: (

Relationship to applicant (check one): ______Choir director ______Voice teacher ______Other (Please specifY)

Name of school: ______Name of principal: ______

Schooladdress: ______Mailing City State Zip

This applicant has demonstrated the outstanding musical ability, attention span, and exemplary behavior necessary to represent his/her school, church, or community choir, city, and state in the ACDA National tIigh School tIonor Choir in Chicago.

Director's signature: ______-,- ______Date: ______

Administrator's signature: ______Title: ______Date: ______

InstructiDns fDr Preparing AuditiDn Tape Select a quality, high-bias standard cassette tape. For best results use high-quality recording equipment and, if possible, record with Dolby® noise reduction. On the cassette tape and box, clearly write the name of the applicant, preferred voice part (S1, S2, AI, A2, TI, T2, BI, B2), and the tirle of the second prepared solo (number four below). On the cassette box, also list the name of the director, the name of the choir (include city and state), and the student's voice range. After the audition is completed, rewind the tape. Tapes will be reviewed in a manner that will not reveal the applicant's name or choir until after selection is made. Edited tapes will result in the applicant's disqualification. ACDA will not rerum audition cassettes.

1. Identification. Clearly state the title of the prepared solo. Please do not voice personal identification information on the tape.

2. Vocalization. Sing two unaccompanied major scales on any comfortable vowel, one from the middle of the voice range to the lowest effective note, and one from the middle of the voice range to the highest effective note.

3. My Country 'Tis ofThee {America}. Starting on the pitches below, sing the first verse unaccompanied. Sop 1: A above middle C Alto 1: E above middle C Tenor 1: A below middle C Bass 1: D below middle C Sop 2: G above middle C Alto 2: D above middle C Tenor 2: G below middle C Bass 2: Bb a ninth below middle C

4. Second prepared solo. Sing a prepared solo or excerpt from a solo of contest nature. Sola may be accampanied and no. more than twa minutes in length. Please limit length .of introduction to two or three measures.

August 1',1998 ·'.Notific3xianbylTI~ofaccePt~ceintothe19994CDANatiaIlalHighSch()ol.HanorChoir f Septe~ber15, 199Bi Posanarkdeadlin:e for sehd.irig $70 'pru:tiCipaticin,f¢erotlje abaveaddress ,( c~eck made;Pilyablet:() ACDAHigh i,"','; " ~ , " . '. " . { .. ',' '. - . ,- ," . L/ ,~ :'ScnooLHonorChoii)." . " _,' .' "".".,,' _< . ,,_ ',' i'<"" ,-.: ','1;-,'- !' ". ()ct()~~rii'5~!l9~8' ' I '" <'J;e?iu~~4,1~9~ ·~~,~~~~~:;~~t~~~;:::~~~~;i~t'~;#"!~~~,;ri~~'~\ii~~;., .'~,- .. :.' . : .. '-'<.',' .. ";>~ reii~tratianandfus~/ehe:usal.I}e;hf~SalS S()nfill~e,pr9tlghSa.t~~a.ilIlorni~w;,Fe~fllapr2?;, .. '." i februaiy;2~, 19?9 ' Saturclay aftern90n h~n~~ chair pe~fa~m~ceiand conve~ti6ri 'caridusion !. ••.. . . • .•..• , !

PAGE 44 CHORAL JOURNAL 1999 ACDA National Women's Honor Choir Chicago, Illinois . February 24-27, 1999 Diane Loomer and Morna Edmundson, Co-conductors

Application Form

Participants in the Women's Honor Choir will be selected from high school, college, university, church, and community choirs, thus demonstrating the value of singing as a lifelong activity. Please photocopy this page. Please type or print legibly. Send separate application form and audition tape for each applicant. A $15 nonrefundable application fee (check or money order payable to ACDA) must be paid for each applicant. There is no limit on the number of applicants from a single school or chorus. Organizations may submit one check for multiple applications. PLEASE DO NOT SEND CASH OR PURCHASE ORDERS.

Applicant's name: ______Date of birth: ___/ ___/ ___

Address: ______~------~------~------Mailing City State Zip

Home phone: ( ______Fax:( E-mail: ______

Height in inches: ______year in school (high school and college): ___ T-shirt size (circle one): S M L XL XXL

Preferred voice part: ______second choice: ______Voice range: ~~~~~~~~~~~~~~

Sponsoring choir or organization: ______

Name of parent or legal guardian: ______Work phone: ( (if applicant is less than 18 years of age)

Statement of Obligation I have read the guidelines and application form. I understand that if selected for the honor choir, I will assume significant musical and financial obligations, including a $70 participation fee, and all COSts of transportation, lodging, and meals. I agree to be housed at the hotel designated by the convention commitree (approximately $25 per person per night for quad occupancy). I agree to arrive in Chicago for registration and the first rehearsal by 3 P.M. on February 24, 1999. I agree to attend all rehearsals and the February 27 performances of the Women's Honor Choir. Ifless than eighteen years of age, I further agree that I will be supervised by an adult chaperone age twenty-one or older. I commit myself fully to preparing honor choir music according to instructions I receive with the music packet.

Chaperone Statement of Obligation If the applicant is selected for the 1999 ACDA National Women's Honor Choir, I will chaperone her to Chicago, February 24-27, 1999. I understand I will be staying in the hotel designated by the convention committee (appoximately $50 per person per night for double occupancy). I further understand that I will be responsible for ensuring the applicant attends all honor choir rehearsals and the convention performance. I understand that ACDA is not responsible for the cost of my transportation, lodging, or meals. I certifY that I am at least twenty-one years of age as of June 25, 1998.

Applicant's signature: ______Date: ______

Parent/guardian's signature (if applicant is less than 18 years of age): ______Date: ______

Chaperone's signature: ______Date: ______

Director Information and Recommendation Director must be an ACDA member in good standing. Conductors applying to the honor choir need not complete the following director's evaluation but must submit an audition tape.

Name: ______ACDA membership no.: ______

Homeaddress: ______

Home phone: ( _____ Workphone: ( _____ Fax:( ______E-mail: ______

MAY 1998 PAGE 45 Rate the applicant from 1 (poor) to 5 (excellent): _Musicianship Intonation _Vocal technique _Attentiveness __Dependability __Enthusiasm for quality work __Positive, supportive attitude __Ability to work within a group __Ability to follow directions _Ability to accept criticism

Additional comments: ______

I highly recommend the applicant for participation in the 1999 ACDA National Women's Honor Choir. I understand that I am required to attend the convention if the applicant is selected for the Women's Honor Choir.

Director's signature: ______Date: ______

Administrator's signature (for high school applicants): ______

Tape Preparation Instructions (Failure to comply with these guidelines will result in disqualification)

1. Each applicant must submit her own tape with the application form. 2. Select high bias standard cassette tape with Dolby® noise reduction. High quality recording equipment is strongly recommended. 3. The tape box and the recording tape must be clearly labeled with your name, name of chorus in which you sing or that you conduct (include city and state), your highest and lowest notes, voice part, and title/composer of prepared piece. 4. Pauses between sections of the audition tape are acceptable. Editing within a particular section of the tape is not acceptable and will result in disqualification. 5. Rewind the tape before mailing. Audition tapes will not be returned. 6. Tapes will be reviewed in a manner that will not reveal the applicant's name or choir until after selection is made.

"What to include on the tape 1. Begin with a verbal introduction stating the voice part for which you are auditioning. Please do not voice personal identification information on the tape. 2. Sing two legato scales unaccompanied, using the syllable "ah" (as in "father"), one from F above middle C to your lowest effective note, and one from F above middle C to your highest effective note. 3. Sing the following measures from Handel's Messiah, "He Shall Feed His Flock," with keyboard accompaniment: sopranos mm. 25-44; altos mm. 10-23. 4. Optional. Sing a prepared aria or excerpt from a solo of contest nature-a sacred or secular or well-crafted folk song-or a piece from the repertoire of the chorus in which you currently sing. Some of your most beautiful singing should be demonstrated within the first minute of your selection. Use of popular music will result in disqualification. Solo may be accompanied and no more than two minutes in length. Limit introduction to a chord or 2-3 measures.

PAGE 46 CHORAL JOURNAL 1998 SUMMER FESTIVALS AND WORKSHOPS

Editor's Note: Following is a partial list MAY 8-10 MAY 31-.JlJNE 5 of choral events talring place between Montreal Music Festival Chapel Hill Chamber Music May and early September 1998. Events Mont1"ea~ Canada Uiliversity ofNorth Cm·olina are listed chronologically and include Chapel Hil~ North Carolina, International Music Festivals festivals, workshops, clinics, seminars, See above Cliniciam: Rebecca Arons' Freddy Arteel • masterclasses, conferences, and summer Sarah Johnson· Donald Oehler' courses. Contact information appears at MAY 15-17 Benjamin Rawitz • Jeroen Reuling • the end of each entry. Information for Chicago Music Festival Ervin Schiffer' Kati Sebesryen • this listing was solicited from ACDA Chicago, Illinois Brent Wissick state presidents and from music Judges: Ronald Dekant • Thomas Dvorak Patt Hall industry members on the Chol·al UNC-CH Division of Continuing Education Journal advertising list. International Music Festivals CB #1020, The Friday Center See above Chapel Hill, NC 27599-1020 919/962-3345 (voice 919/962/5549 (fax) Toronto Music Festival cni.ce@mhs,unc.edu Continental Toronto, Canada (also June 12-17) .JUNE 1-5 United States Judges: Carol Benyon' Dan Dannis • Texas Conference Choir Clinic Stanley Saunders Methodist Conference Center and Canada Palestine, Texas International Music Festivals See above Dub Shepherd MAY 1-2 281/358-90853 , Smoky Mountain Music Festival MAY 21-24 JUNE 3-6 Gatlinburg, Tennessee Children in Harmony (also May 8-9) Orlando, Florida CHORUS AMERICA'S Twenty-first Annual Conference Cliniciam: Charlene Archibeque· Clinicians: Bob Chilcott' Barbara Tagg Houston, Texas Anton Armstrong' Charles Ball • Simon Carrington· Eph Ehly • Keynote Arts Associates CHORUS AMERICA Craig Jessop· Rodney Eichenberger' 1637 East Robinson Street 1811 Chestnut Street, Suite 401 Weston Noble' John Ribble· Orlando, FL 32803 Philadelphia, PA 19103 Charles Smith· Robert Stoll· 800/522-2213 (voice) 215/563-2430 (voice) Michael Swartzkopf· Eric Thorson [email protected] 215/563-2431 (fax) [email protected] w.J. Julian MAY 23-25 601 Westborough Road JUNE 12-17 Knoxville, TN 37909 Heartland Children's Chorus Festival 800/553-1032 (voice) Des Moines, Iowa Toronto Music Festival 423/693-5470 (voice) Toronto, Canada Cliniciam: Dennis Darling' See May 15-17 MAY 1-3 Debra Gordon' Juan-Tony Guzman • Sylvia Munsen • Barbara Sletto Festival of the Nations JUNE 13 Music for the Smaller Parish Washington, D. C. Heartland Children's Chorus Festival c/o Des Moines Children's Choruses, Inc. 1998 New Music Reading Session International Music Festivals 525 East Ninth Street, Suite B Saginaw, Michigan P.O. Box 216 Des Moines, IA 50309 Hickory Corners, MI 49060 515/262-8312 (voice) Christine Kalusche 8001275-4631 (voice) 5151262-8359 (fax) Notthwestern Publishing House 6161629-4176 (fax) 1250 N. 113th Street [email protected] Milwaukee, WI 53226 MAY 29-31 414/454-2140 (voice) MAY 8-9 Festival of the Rockies [email protected] Estes Park, Colomdo Smoky Mountain Music Festival http://www.wels.net/nph/html/musicwkshp Gatlinbm"g, Tennessee International Music Festivals See May 1-2 See above

MAY 1998 PAGE 47 .JUNE 14 .JUNE 20 Showchoir Camps of America Music for the Smaller Parish Music for the Smaller Parish Millikin University 1998 New Music Reading Session 1998 New Music Reading Session Decatll1; Illinois St. Joseph, Michigan New Ulm, Minnesota Clinicians: Various music educators, composers, arrangers, choreographers, and motivational Christine Kalusche Christine Kalusche Seep. 47 Seep. 47 speakers

.JUNE 14-19 Showchoir Camps ofAmerica, Inc. .JUNE 21 P.O. Box 583 Augustana Summer Music Camp Music for the Smaller Parish Naperville, IL 60566 Augustana College 1998 New Music Reading Session 630/355-5551 (voice) Sioux Falls, South Dakota Bloomington, Minnesota .JUNE 21-JULY 19 Clinicians: Augustana College faculty Christine Kalusche Lutheran Summer Music 1998 47 Bruce Ammann Seep. Augustana College Augustana College Sioux Falls, South Dakota 2001 South Summit .JUNE 21-26 Sioux Falls, SD 57197 Symposium on Choral Artistry Clinicians: James Johnson· James Ramlet • Karen Wilkerson 605/336-5451 (voice) University 0/ Hartford [email protected] west Hartford, Connecticut Victor E. Gebauer (also June 29-July 3) 122 West Franklin Avenue' Suite 522 ..JUNE 14-23 Minneapolis, MN 55404 Clinicians: Dennis Jewett' Ann Howard The Sixth Choral Institute 612/879-9555 (voice) Jones' Donald Neuen • Paul Oakley FU17nan University [email protected] Furman, South Camlina http://www.lutheranmusicprogram.org Susan Cangro Hartt Summerterm Clinician: Robert Shaw The Hartt School' University of Hartford .JUNE 22-26 200 Bloomfield Avenue Summer ChoralFest The Robert Shaw Choral Institute West Hartford, CT 06117-1599 University o/Wisconsin-Milwaukee Furman University (voice) Milwaukee, Wisconsin 3300 Poinsett Highway 800/955-4278 8601768-5020 (voice) Greenville, SC 29613 8601768-4441 (fax) Clinicians: Valerie Errante • Sharon Hansen' 864/294-2086 (voice) http://www.hartford.edu William Lavonis • Leon Thurman 8641294-3035 (fax) http://www.furman.edu/shawinstitute Presbyterian Mo-Ranch Assembly Sharon Hansen University ofWisconsin-Milwaulcee .JUNE 15-19 Mo-Ranch Hunt, Texas Fine Arts Music Ohio State University Midwest Post Office Box 413 Summer Choral Workshop Clinicians: Robert Albright· Judith Davidson Milwaulcee, WI 53201 Ohio State University • Kinley Lange' Dianne Schayot • 414/229-4595 (voice) Columbus, Ohio John Silantien • David A. Van der Meer • 414/229-2776 (fax) John Weaver [email protected] Clinicians: Hilary Apfelstadt • James Gallagher Registrar' Music and .JUNE 22-JULY 3 Hilary Apfelstadt Worship Conference' Mo-Ranch Brevard College Choral Workshop, School of Music Hc 1, Box 158 Creekside D Ohio State University Hunt, TX 78204-9711 Porter Center fol' the Pelfanning Al'ts 1866 College Road 800/460-4401 (voice) Brevard College Columbus, OH 43210 8301238-4455 (voice) Brevard, NOl·th Camlina 614/292-9926 (voice) 830/238-4202 (fax) [email protected] http://www.moranch.com Clinicians: Alfred Calabrese· Daniel E. Gawthrop .JUNE 13-22 .JUNE 21-27 Princeton International Choir Festival Hawaii International Choral Festival Admissions Office Princeton, New Jersey Honolulu, Hawaii Brevard College 400 North Broad Street Conductors: Karle Erickson' James Litton Joseph McAlister Brevard, NC 28712 3215 Pali Highway 800/527-9090 (voice) AD International, Inc. Honolulu, HI 96817 704/884-8300 (voice) 136 Lawrenceville-Pennington Road 8881284-6742 [PIN 0940] (voice) 704/884-3790 (fax) Lawrenceville, NJ 08648-1413 808/595-0327 (voice) [email protected] 8001288-3242 (voice) 808/595-8616 (fax) 609/896-3450 (fax) [email protected] [email protected]

PAGE 48 CHORAL JOURNAL JUNE 23-26 541-346-5669 (fax) Glendale, AZ 85302 Brighdeaf's New Voices http://www.bachfest.uoregon.edu 602/435-3724 (voice) 602/435-3329 (fax) JOI·dan High School CraPete@aoLcom Dmnam, North Carolina JUNE 27-28 Emerald· City Choral Celebration To register for graduate credit: Clinicians: Andy Baker· Tara Pennick Seattle, Washington Edith Copley Edmondson· Dan Huff· Matthew Wright· Northern Arizona University Kristi Triplett Clinicians: Stephen Hatfield· Rebecca Rottsolk School of Performing and Fine Arts p. O. Box 6040 Jill Bayshore Northwest Girlchoir Flagstaff, AZ 86011 Brightleaf Music Workshop 728 Twenty-first Avenue East 520/523-2642 (voice) 1800 West Martin Luther King, Jr. Parkway Seattle, WA 98112 Suite 103 206/329-6225 (voice) Durham, NC 27707 206/329-9925 (fax) JUNE 28-.JULY 3 919/493-0385 (voice) University of Kansas 919/493-6442 (fax) JUNE 27-JlJLY 3 1998 Choral Directors Institute [email protected] AmericaFest International Singing University ofKansas http://www.brightleafmusic.org Festival for Men and Boys Lawrence, Kansas St. John's University JUNE 25-26 Collegeville, Minnesota Clinicians: Simon Carrington· The Conductor's Workshop Lori Lewis· Lee Reussner • University ofAlabama Clinicians: Eskil Hemberg • John Stephens· Wendy Zaro Tuscaloosa, Alabama James Litton· Albert McNeil· Weston Noble· Robert Sund • Axel Theimer David Bushouse Clinicians: Kenneth Ozzello • 400 Murphy Hall Sandra Willetts· Linda Turen AmericaFest University of Kansas 34 Fox Creek Drive Lawrence, KS 66045 University ofAlabama Waukee, IA 50263 785/864-4730 (voice) School of Music 515/987-1405 (voice) 785/864-5023 (fax) [email protected] Department of Music Education 515/987-5480 (fax) Box 870366 amfst98@aoLcom http://www.Music.UKans.edu Tusacaloosa, AL 35487 205/348-6054 (voice) AmericaFest International JUNE 28-.JULY 4 205/348-1473 (fax) Des Moines International [email protected] Teacher Symposium St. John's University Children's Choral Festival Collegeville, Minnesota Des Moines, Iowa JUNE 26-.JULY 4 Western Wrnd Workshops in Clinicians: Noel Ancell· Nancy Carstedt • Des Moines International Ensemble Singing Pavel Horak· Eskil Hemberg • James Litton· Children's Choral Festival Northampton, Massachusetts Albert McNeil· Weston Noble· 525 East Ninth· Suite B (also Ju/P 24-August 1) Robert Sund· Axel Theimer Des Moines, IA 50309 515/262-8312 (voice) Clinicians: Western Wind AmericaFest 515/262-8359 (fax) See above Zach Nelson JUNE 29-.JULY I Western Wind Vocal Ensemble JUNE 28-29 Developing Singing Skills with 263 West 86th Street Children's Celebration Choral Festival Young Singers New York, NY 10024 Anaheim, California University ofHartford 800/788-2187 (voice) west Hartford, Connecticut 212/873-2849 (fax) Clinicians: Nick Page· Barbara Tagg [email protected] Clinician: Helen Kemp http://www.westernwind.org Keynote Arts Associates Seepage 47 Susan Cangro JUNE 26-.JULY II Hartt Summerterm Oregon Bach Festival JUNE 28-.JULY I Seep. 48 , Oregon Four Corners Choral Workshop San Marcos Resort and Country Club 1998 Ohio Choral Directors Association Clinicians: Richard Clark· Chandler Center for the Art\' Summer Conference Jeffrey Kahane· Gordon Paine· Chandler, Arizona Otterbein College Kathy Romey· Thomas Somerville westerville, Ohio Helmurh Rilling, Conductor Clinicians: Jerry Doan • Lynne Gackle· Donald Neuen Clinicians: James Gallagher· George Evano Sigrid Johnson· Kenneth Phillips 1257 University of Oregon Craig Peterson Eugene, OR 97403 Glendale Community College Craig Johnson 541/346-5666 (voice) 6000 West Olive Avenue Department of Music· Otterbein College

MAY 1998 PAGE 49 WARNER BROS. PUBLICATIONS PRE SEN T S , .••.1 ,., .~ .~E3 I'dl!j * * * * * * * * * * A Two-DAY CHORAL MUSIC EVENT FOR YOU! * * * * * * AUGUST 5 AND 6,1998 ATLANTA, GEORGIA Register by June 1 and save!

* * * * * * CHORAL EXTRAVAGANZA '98 INCLUDES: * Mini -Concert Performances * New Choral Music Reading Sessions * Special Interest Sessions and Workshops * What is Choral * Will music be available for Extravaganza '98? purchase at the event? Choral Extravaganza is a unique choral music event Yes! A supply of all of the products being presented designed to recharge and renew your enthusiasm, give will be available so that you can plan to take music you the best new music for the 1998-1999 season, and with you at the close of the event. give you experience with some of the finest names in choral music today * What is the event schedule for Choral Extravaganza '98? * Who will be conducting or Sessions are planned from 8:30 AM to 5:30 PM. presenting sessions at the Registration and check-in will begin at 7:45 AM. Choral Extravaganza? Details of the schedule will be mailed in advance of A host of nationally known clinicians, conductors, and the event to those registering by July 10. composers will be featured, including:]im Kimmel • Greg Gilpin • Russell Robinson • Earlene Rentz • * What is the cost of the event? Senja Poorman. Fees have been established to provide complete flex­ ibility Attend both days and take advantage of signif­ * What types of new music icant savings. Register by June 1 to take advantage of will be presented? the early-bird discount. Music ideal for school, college and community groups will be presented, including music from the catalogs of: Warner Bros. Publications • Belwin • Studio PIR • Gordon V Thompson • Fazer • and more! While some music appropriate for church use will be included, sessions will be plimarily for school and community choirs of all levels. * What types of workshops * What do I get for my money? will be-included? In addition to the many seminars and Rehearsal Techniques • Movement and Choreography performances, the fee includes: • Motivation and Music • and more. • Copies of all of the music presented for each of the days you attend (the packet value for the * Who should plan to attend? entIre event will exceed $200!) This event is deSigned for directors and conductors of • A presentation packet for your permanent the follOwing types of choral groups: Middle School reference that includes choreographic notes, • Junior High • High School • College • Children's workshop materials and a host of valuable Choirs • Community Choirs literature • Lunch each day, as well as beverage breaks * Where is the event being held? during the day The entire event will take place at the Harvey Hotel in Atlanta, located just off 1-285, at the Northside Drive * How may I register for NW exit. Special room rates of $85.00 per night have Choral Extravaganza '98? been made available to Choral Extravaganza registrants It's easy! Call Warner Bros. Publications toll-free at who register early Room reservation details will be included in your confirmation packet. 1-800-628-1528 * Will graduate credit be available for attendees? Register early to assure your place at We are presently working to secure graduate credit for registrants who attend both days of sessions. ~~0=>~ '---->1~:~r!nilll1l1l(~llNZil "98 Information will be forwarded to registrants as soon * * * * * * * * * * * * * * . as final details are available. .mLY 17-AUGUST-2 .mLY 20-24 .mLY 24-31 Brightleaf Music Scholars Assessment in Music: Lifespan Voice Education in the Real Duke University Ideas for Evaluating Creating, World-Impact Course Durham, North Carolina Performing, and Responding Skills Hollins College Univmity ofHm·tJord Roanoke, Virginia Clinicians: Andy Baker' Tara Pennick West Hm·tJord, Connecticut See Jury 10-17 Edmondson· Rob Lawrence Jill Bayshore Clinician: Clark Sanders .mLY 24-AUGUST I Seep. 49 Susan Cangro Western Wmd Workshops in Ensemble Hartt Summerterm .mLY 18 Singing Seep. 48 Northampton,Massachl~e~ Music for the Smaller Parish See June 26-Jury 4 1998 New Music Reading Session Choral Music Experience: Milwaukee, Wisconsin Elementary and Middle School Focus .mLY 25-30 Univmity ofHartJord Rene Clausen Choral School Christine Kalusche West HartJord, Connecticut Concordia College Seep. 47 Moorhead, Minnesota Clinicians: Kathy Armstrong' .mLY 18-25 Stephen Hatfield' Doreen Rao Clinicians: Rene Clausen Fellowship of American Baptist Musicians Conference for Susan Cangro Gordon Moe Harrt Summerterm RR3, Box 183-A Church Musicians Seep. 48 Green Lake Conference Center Hawley; MN 56549 Green Lake, Wisconsin 218/937-5248 High School and [email protected] Clinicians: John Dickson· Randy Edwards' Middle School Workshop Carol Giesbrecht· Kate Penfield University ofSouth Carolina .mLY 25-AUGUST I Columbia, South Carolina Showchoir Camps of America For Conference Registration: "Walt Disney Worfd9 Resorts Fellowship of American Baptist Musicians Clinicians: Mitzi Groom' Larry Wyatt Orlando, Florida 1600 Tall Tree Drive Trenton, MI 48183 Larry D. Wyatt Clinicians: Various music educators, 313/277-7995 (voice) Seep. 50 composers, arrangers, choreographers, 313/383-9191 (fax) and motivational speakers .mLY 23-25 For Housing Registration: Hal Leonard Joy of Singing Workshop Showchoir Camps of America, Inc. Guest Services Fail-view Park Man'iott Seep. 48 Green Lake Conference Center Falls Church, Vil-ginia Green Lake, WI 54941 .mLY 26-31 800/558-8898 (voice) Clinicians: Fred Bock' Mark Cabaniss • 4141294-3686 (fax) Roger Emerson· Moses Hogan • Choristers Guild Summer Seminar Calvin College Mack Huff· John Jacobson· Grand Rapids, Michigan .mLY 19-25 Audrey Snyder Green Lake Festival of Music Clinicians: Richard Collman • Onondaga Music Services Green Lake, Wisconsin Terry Goolsby· Judy Henneberger' 800/666-1665 (voice) 315/422-2227 (voice) Bill Johnson' Helen Kemp' Liz Rose' Clinicians: Paula Rockwell • Randall Stroope· John Thornburg· David Willcocks' Jonathan Willcocks David Weck • John Witvliet .mLY 24-25 Green Lake Festival of Music Music Unlimited/Malecki Music Barbara Merry P.O. Box 569 Choral Reading Sessions Choristers Guild Green Lake, WI 54941 Highland Park Baptist Church See p. 51 920/748-9398 (voice) Southfield, Michigan [email protected] Southern Maine Choral Clinicians: Don Besig • Audrey Grier· Institute: Teachers .mLY 20-24 Gene Grier' Gary Matthews' Nancy Price Univel-sity ofSouthem Maine Villanova University Summer Studies for Gorham, Maine Music Teachers--'-Graduate Workshop­ Music Unlimited See p. 51 Vocal Jazz for All Ages Robert Russell Villanova Univel-sity University of Southern Maine Philadelphia, Pennsylvania Gorham, Maine 04038 Clinician: David and Nancy Riley 207/780-5272 (voice) [email protected] George Pin chock Seep. 50

PAGE 54 CHORAL JOURNAL .JULY 26-AUGUST I .JULY 28-29 [email protected] Southern Maine Choral 1998 Alabama Choral Celebration http://www.ward-brodt.com Institute: Singers ACDAlAlabama Vocal Association AUGUST 2-5 University ofSouth em Maine Summer Reading Session and Workshop Gorham, Maine Trinity Methodist Chw"ch California ACDA Summer Robert Russell Homewood, Alabama Choral Workshop-ECCO '98 Seep. 54 Oakhurst, Califomia Clinicians: Reading sessions by .JULy 26-AUGUST 2 Heads House of Music Clinician: Alice Parker Brighdeaf Music Workshop Duke University Dwight Brown Ken Abrams Durham, N01"th Carolina 6100 Old Leeds Road 41 Picardy Ct. Birmingham, AL 35210 Walnut Creek, CA 94596 510/939-7562 (voice) Clinicians: David Bartlett· Duane Davis· 205/956-4160 [email protected] Sandi Duncan' Tara Pennick Edmondson' Gayle Smith Dan Huff • Rob Lawrence' 334/887-4179 (voice) Miles Thoroughgood 334/887-4160 (fax) AUGUST 3-8 [email protected] Music in the Mountains '98- Jill Bayshore A Choral Workshop and Showcase Seep. 49 .JULY 28-31 East Stroudsburg University Nebraska Choral Directors Association! East Stroudsburg, Pennsylvania .JULy 27-29 Wmgert-Jones Music Summer Colorado ACDA Workshop '98 Convention and Reading Clinics Clinicians: David Angerman' Don Besig • Wellshire Presbyterian Chw"ch Nebraska Wesleyan University Pepper Choplin· Lee Dengler. Mary Denver, Colorado Lincoln, Nebraska Donnelly' Jill Galina • Michael Galina • Greg Gilpin' Mark Hayes· Lee Kjelson • David Clinicians: Anron Armstrong' Joan Conlon Clinicians: Rodney Eichenberger· Lantz III' Lloyd Larson' John Leavitt' Terre Weston Noble McPheeters' Mary Price' Norm Sands' Marjorie S. Camp George Strid· J. Paul Williams 11890 East Bates Circle Jim Hejduk Aurora, CO 80014 120 Westbrook Music Building Krista Montgomery 303/695-9462 (voice) University of Nebraska-Lincoln Shawnee Press, Inc. [email protected] Lincoln, NE 68588-0100 p. O. Box 690 402/472-2993 (voice) 49 Waring Drive .JULY 27-31 402/472-8962 (fax) Delaware Water Gap, PA 18327 Villanova University Summer Studies for [email protected] 800/962-8584, ext. 249 (voice) [email protected] Music Teachers-Graduate Workshop­ .JULY 29-AUGUST I The Junior!Senior High School Musical AUGUST 5-7 Villanova University National Association of Philadelphia, Pennsylvania Pastoral Musicians Arkansas ACDA Region III Convention New Music Reading Clinic Clinician: Jay Fry' Larry Edwards' Dallas, Texas Park Hilton Hotel Kevin Rawlings· Stevie Rivers Hot Springs, Arkansas Clinicians: Edward Foley· J. Glenn Murray' George Pin chock Elaine Rendler' John Romeri Clinician: Geoffry Boers See p.50 National Association of Pasroral Musicians Dennis Burron Kinderchor at Otterbein College: Seep. 50 621 Plaza West Helena, AR 72390 Children's Choir Institute 870/572-4508 (voice-office) Otterbein College .JULY 30-AUGUST I 870/572-5677 (voice-home) Westerville, Ohio Ward-Brodt Music's Twelfth Annual [email protected]; [email protected] Clinicians: Amy D. Chivington· Music Literature Reading Sessions Linda Nolan' Emily Prichard and Workshops AUGUST 6-7 Man'iott Madison-West Hotel Hal Leonard Joy of Singing Workshop Amy D. Chivingron Madison, Wisconsin Franklin County "lteterans Memorial Department of Music' Otterbein College Columbus, Ohio Westerville, OH 43081 Clinicians: SCOtt Foss· Greg Gilpin' Sharon 614/823-1110 (voice) Hansen· Jeanne Julseth Heinrich· Cheryl Clinicians: Fred Bock· Moses Hogan • 614/823-1118 (fax) Lavender' Joe Martin' Tom Mitchell Mack Huff· John Jacobson· [email protected] Ed Lojeski • Christi Miller' John Purifoy http:// otterbein.eduldept/MUSC/kinderchor Bill Busch Ward-Brodt Music Stanron's Sheet Music p. O. Box 259810 800/42-MUSIC (voice) Madison, WI 53725 614/224-4257 (voice) 800/369-6255, ext. 127 (voice)

MAY 1998 PAGE 55 AUGUST 6-8 Clinicians: Grayson Warren Brown· Jan Mary Ester Blakely· Dan Earl· Choristers Guild Directors' Workshop Michael Joncas· Francis Kline· Scott Pilarz Gail McKinney Valley College Nancy Shirley Annville, Pennsylvania National Association of Pastoral Musicians Seep. 50 14339 Barrymore St. San Diego, CA 92129 Clinicians: Michael Jothen • 619/484-0913 (voice) Helen Kemp· Allen Pote AUGUST 12-14 Hal Leonard Joy of Singing Workshop [email protected] James Steel The Sportsman's Lodge See p. 51 Los Angeles, Califo17lia SEPTI!MBER 4-7 GALA Choruses Leadership AUGUST 7-8 Clinicians: Fred Bock· Mark Cabaniss· Conference & Singers Weekend Music Unlimited/Malecki Music Emily Crocker· Roger Emerson· Failmont Hotel Dallas Moses Hogan· Mack Huff· John Jacobson· Dallas, Texas Choral Reading Sessions Kirby Shaw • Point Loma Nazarene College Clinicians: Dennis Coleman· Rodney San Diego, Califo17lia Malecki Music, Inc. Eichenberger· Gregg Payne· Catherine Roma 800/858-7664 (voice) Clinicians: Cindy Beery· Audrey Grier· 310/529-2929 (voice) Gene Grier· Melva Morrison· Keith Pagan GALA Choruses P.O. Box 65084 Music Unlimited AUGUST 13-15 Washington, D.C. 20035 See p. 51 Fifteenth Annual Oregon ACDA 202/467-5 830 (voice-registration) Summer Choral Workshop 813/936-0009 (voice-program information) [email protected] AUGUST 10-14 University o/Portland Portland, 01-egon hrtp://www.galachoruses.org Choral Workshop San Jose, Califo17lia Clinician: Larry Kaptein SEPTEMBER 12 California ACDA Fall Choral Reading Clinicians: Charlene Archibeque· Natasia Michael Sagun Session (Northern California) Sexton Sheet Music Serive Califo17lia State Uiziversity-Hayward 34 NW Eighth Avenue Hayward, Califo17lia Choral Activities Portland, OR 97209 School of Music and Dance 503/222-9607 (voice) Clinicians: Lynn Bielefelt • David Leestman • San Jose State University Mary Ester Blakley· Dan Earl· San Jose, CA95192 AUGUST 14-15 Gail McKinney [email protected] Music Unlimited/Malecki Music Linda Loya AUGUST 11-13 Choral Reading Sessions Northminster Presbyterian Ch1l1'ch 1704 Walpole PI. Pennsylvania Choral Directors Sacramento, Califo17lia Modesto, CA 95358 Fourth Annual Conference for 209/521-4746 (voice) Choral Musicians Clinicians: Jack Carey· Audrey Grier· [email protected] , Penn State University Gene Grier· Melva Morrison· Jean Perry State College, Pennsylvania Music Unlimited Clinicians: Anton Armstrong· Gene Brooks· Seep. 51 Festivals and Daniel Gawthrop· John HaberIen· Judy Hanson· Sally Hermann AUGUST 21-22 Workshops Lee Rickard Music Unlimited/Malecki Music 635 1/2 Fifth Street Choral Reading Sessions Abroad Oakmont, PA 15139 west Hills Pl-esbyterian Ch1l1'ch Omaha, Nebraska 412/828-9891 (voice) MAY 24-26 [email protected] Clinicians: Boyd Bacon· Patri Drennan • Ameriean Choir Festival: Robert Drafall Audrey Grier· Gene Grier· Dwaine Price College Choral Groups 239 E. Irvin Avenue Leipzig, Gelmmzy State College, PA 16801 Music Unlimited 814/234-2964 (voice) See p. 51 Artistic Director: Peter Hendrickson [email protected] http://www.pouchware.comlacdapalindex.htm AUGUST 29 Babette Wheeler California ACDA Fall Choral Reading 445 Lakota Lane AUGUST 11-14 Session Chaska, MN 55318 National Association of Pastoral Califomia State University-Fullel·ton 800/392-7532 (voice) Fullerton, Califo17lia 612/445-8151 (voice) Musicians Region I Convention 612/496-1329 (fax) Cherry Hil4 New Jersey Clinicians: Lynn Bielefelt • David Leestman • [email protected]

PAGE 56 CHORAL JOURNAL MAY 28-J1JNE I 212/362-4662 (fax) JULY 15-19 Third International [email protected] First International Choir Festival and Choir Competition, Competition "Giuseppe Verdi" JULY 2-5 Academy and Congress Salsomaggiore Tenne, Itary Zwickau, Germany Fourth International Balaton Music Competition for Wmd and Hans Haidacher Hans Haidacher Music Ensembles See above Interculture Foundation of America Veszpre11l, Hungary -C]- 2080 South Ocean Drive Hallandale, FL 33009 Hans Haidacher 954/456-5630 (voice) See above 954/456-5645 (fax) [email protected] JULY 2-15 http://www.musica-mundi.com International Choral Conducting Workshop JUNE 4-7 Bim'ritz, France Director of Youth and Third International Choir Competition Children's Music and Folklore Festival Clinician: Rodney Eichenberger Poblheim, Gennany ETRO DES MOINES church of International Workshops 3200+ seeks dynamic individual Hans Haidacher Dept. Al • 187 Aqua View Drive Mto oversee musical/spiritual See above Cederburg, WI 53012 leadership of youth and children's choir 414/377-7062 (voice) programs. Full-time position includes JUNE 414/377-7096 (fax) directing two juniorlsenior high school 26-28 choirs of 80+ voices each, administration American Choir Festival: [email protected] http://www.internationalworkshops.org of children's choir program of 350 Children's, Community, and children, supervision of five part-time Church Choral Groups JULY 9-15 directors, weekly worship responsibility Leipzig, Germany for music in the 9 A.M. Sunday service, First International Summer Music fundraising for annual tours, planningl Artistic Director: Peter Hendrickson Festival and Workshop directing retreats and annual choir tours, Egel'-Budapest, Hungary special services throughout the year, Fine Babette Wheeler Arts Series participation, ACDA regional Seep. 56 Hans Haidacher convention appearances, co-facilitation See above of Youth Ministries program in conjunc­ JUNE 29-JULY 7 tion with Christian Education staff, assist Tuscany International Children's in planning spiritual education and mission outreach opportunities for youth, Chorus Festival with strong emphasis on fellowship Flo1"lmce and Rome, Itary experiences for youth. Director of Youth and Children's Music Clinician: Jean Ashworth Barrie reports to the Board of Music and Fine Arts, Board of Christian Education, and Musica Mundi Concert Tours NOW on CD! the Senior Minister. Ability to relate to 101 First Street' Suite 454 • Handel's Messiah Chorus Parts youth is essential. Candidate must be Los Altos, CA 94022 Melody and piano accompaniment for open, enthusiastic, and have demon­ 800/947-1991 (voice) Soprano, Alto, Tenor or Bass; ea. CD: $22.95 strated success in leading youth, both 650/949-1991 (voice) musically and in fellowship activities. • Aria Orchestral Accompaniments 650/949-1626 (fax) This highly visible position has been [email protected] With diction step, melody and orchestral recognized nationally as a top position in http://musicamundi.com accompaniments; each CD: $39.95 youth music. Repertoire ranges from • Polly Wolly Doodle for Children traditional to contemporary Christian. JUNE 30-JULY 9 Fantasy Orchestra on CD for 24 Americana Plymouth is a multi-staffed church that Zamir Choral Foundation Performance songs with piano/vocal score: $34.95 depends on and highly values a team Tour of Israel • N. Vaccai: Practical Method approach to ministry and programming. Jerusalem, , and Haifa Features recitation, repetition, diction and Salary range is $32,000-$40,000. melody with piano accompaniment in high Position will remain open until quali­ National Jewish Chorale' American Confer­ or low; each CD (high or low:) $22.95 fied candidate is found. Please send letter ence of Cantors' Raananna Symphonette • • M. Singher: 106 Recitations of interest, resume, and four references Matthew Lazar, Conductor 2 CDs of 106 French poems set to music by to: french composers with translation: $42.95 Thomas J. McCann, Chair Marsha Bryan Edelman Director of Youth and Children's ~ Pocket Coach Publications Music Search Committee Zamir Choral Foundaton 21525 Hathaway Avenue' Hayward, CA 94541 Plymouth Congregational V.C.C. 120 Riverside Drive' Suite lY Tel: (510) 785-1739 • Fax: (510) 782-7930 New York, NY 10024 E-mail: [email protected] 4126 Ingersoll Avenue 212/362-3335 (voice) Website: http://ourworld.compuserve.com/ Des Moines, 1A 50312 homepages/pocketcoach

MAY 1998 PAGE 57 NEWSBRIEFS Chanticleer Appoints New Artistic Director RAIG HELLA Johnson will assume the position of Artistic Director of Chanticleer, the San Francisco Bay area's internationally acclaimed all-male vocal ensemble. Johnson, thirty-five, is currently Artistic Director of the Conspirare C Choir of the New Texas Festival and Director of Choral Activities at the University of Texas at Austin. He joined Chanticleer April 15, becoming the second artistic director in the group's twenty-year history. The announcement concluded an international search begun in 1997, following the death of Louis Botto, Chanticleer's founder and first artistic director. A search committee of trustees, singers, and staff reviewed nearly one hundred applications before recommending Johnson to the full board. A native of Minnesota, Johnson holds a bachelor of music degree in piano performance from St. Olaf College, a master of music degree in choral conducting from the University of Illinois, and master and doctor of musical arts degrees in choral conducting from Yale University. He also studied at the Juilliard School of Music and at the International Bach Academy in Stuttgart, where he was a student of Helmuth Rilling.

IN MEMORIAM Georgy Svirfdov December 3, 1915-January 5, 1998 USSIAN COMPOSER Georgy Sviridov died on January 5, 1998, in Moscow. He was born in Fatezh, a small village in the Kursk region of central Russia. In 1941 he graduated from the Leningrad State Conservatory, where he studied R composition with Dmitry Shostakovich. Sviridov is an heir to a distinguished line of nationalist composers. His compositions are rooted in peasant music and the music of such predecessors as Mikhail Glfnka, Modest Musorgsky, and Sergey Rachmaninov. For more than half a century, Sviridov maintained a reputation as Russia's preeminent composer of vocal and, especially, choral music. His entire composi­ tional output includes more than fifty solo piano pieces, twenty-six incidental works for fum and theater, seven works for chamber instruments, twelve compositions for orchestra, some twenty solo song cycles, four major oratorios, fmeen cyclical choral works (including cantatas with and without accompaniment and unaccompanied concertos), and more than fifty unaccompanied short choral works. Extended, multi-movement works such as A Pushkin Wreath, Concerto in Memory ofYurlov, Kursk Songs, Night Clouds, Poema in Memory ofSergey Esenin, and three choruses to Aleksey Tolstoy's play Czar Feodor Ioannovich have entered the repertoire of choirs throughout the world and have earned Sviridov international recognition. He has been named an Honorary Patron of the International Federation for Choral Music. Peter Jermihov Hope College Holland, Michigan

IOWA CHORAL DIRECTORS ASSOCIATION Summer Convention & Symposium July 27-July 30, 1998 Mason City, IA ~~~:~Jt,~~~m~~j) RASER VALLEY CHRISTIAN IDGH James Rodde • Joan Gregoryk • James Mulholland F SCHOOL, an interdenominational Christian school with 430 students in grades 8- Scott Dorsey • Kent Hatteberg • Pam Edwards 12, is looking for a Choir and Band Teacher for Mr. Pavel Horak and Boni Pueri the 1998-99 school year. Applicants must have British Columbia teacher qualification or qualify (Men and Boys Choir from Czech Republic) for it. Please send resumes to Al Boerema, Phil Mattson and Voices Iowa Principal, 15353 92ndAvenue., Surrey, BC, V3R 1C3, Canada. Phone: 604/581-1033; Fax: 604/ Graduate credit available: For more information call 581-1712; E-mail: [email protected]. Bruce Norris at 712-646-2621 or Carol A. Tralau at 319-398-2435

PAGE 58 CHORAL JOURNAL NEW YORK CHORAL FESTIVAL April 14-18, 1999 Lincoln Center· NYU· Churches of New York

1999 Faculty Weston Noble • Moses Hogan • Gregg Smith

****BY AUDITION ONLY. LIMITED TO TWELVE CHORAL GROUPS****

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Audition areas: Concert Choir, Men's Chorus, Women's Chorus, Gospel/Spiritual Choir

• GREAT PERFORMANCES • HIGH STANDARDS • MODERATE PRICES • 1-800-922-3976

WORLD PROJECTS, INTERNATIONAL MUSIC PRODUCTIONS Contact: Lawrence Hansen The composer of the world's most expressive sacred music premieres his first mass.

I!lI World premiere perfor­ rzysztof Penderecki-the composer of such mance and CD recording at profound sacred music as the Polish Requiem, the Oregon Bach Festival K the St. Luke Passion, and Te Deum (in honor of Eduly 11, 1998 Pope John Paul II)-will reach a personal mile­ III Eugene, Oregon stone on July 11 with the world premiere of Missa,

III Helmuth Rilling, conductor his first mass.

III Festival orchestra and Audiences at the Oregon Bach Festival will chorus witness how the composer has synthesized the III Soloists Maria Jette, Mette power of his early avant-garde expressionism with Ejsing, Juliane Banse, Thomas Randle, Thomas the strength of musical traditions that he has more Quasthoff recently explored.

III The Phoenix Boys Choir oinciding with the world premiere is the A joint commission of the C release of Penderecki's first book, "Labyrinth Internationale Bochokademie Stuttgart and the Oregon Bach in Time: Five Essays." Edited by Ray Robinson, the Festival. Underwritten in part by a grant from the Hult Endowment of book will be celebrated with symposia, open the Arts Foundation of Western rehearsals of Missa, public talks, and the composer Oregan. in residence. Positions are still open for auditors in the Conducting Master Class.

We invite you to Eugene to take part in the making of music history.

Oregon Bach Festival June 26-July 11 800/457-1486 hHp://bachfest.uoregon.edu MI LESTQN Es ~ 1998 OREGON BACH FESTIVAL, JUNE 26· JULY 11 RESEARCH REPORT Christine D. de Catanzaro, editor

A New Eng:clopedia of fundamental features of Mrican music, first article, "Identities: Music and Other World Music such as time, notation, and timbre. In the Mrican Arts," Barbara L. Hampton The Garland Encyclopedia ofWorld Music Volume 1: Africa Ruth M. Stone, ed. New York: Garland, 1998. 851 pp. $125. New Christmas Musie I I ISBN: 9 780824 060350 Today, Heaven Sings, SATB, reh pno - MF584 ~ro1 ILLED AS "a culture-by-culture by Kenneth Jennings ~ celebration of the world of mu­ Child of Love, SATB a cappella - MF585 by Frank Berry *1 sic," the Garland Encyclopedia of B Hold High Your Lantern, SA, pno - YS309 ~ World Music breaks new ground in the by Ian Kellam field of ethnomusicology. The planning for this massive undertaking, the first en­ FREE references copies available upon request. cyclopedia of its kind, was begun a de­ cade ago by founding editors James Porter and Timothy Rice. Bruno. Nettl, whom Mark Foster Music Company many consider to be the founding father PO Box 4012, Champaign, IL 61824-4012 of ethnomusicology, and Ruth A. Stone, Phone (800) 359-1386 or Fax (217) 398-2791 musIc COffiPROY noted Mricanist ethnomusicologist, serve Email: [email protected] http://VNNI.markfostermusic.com as advisory editors. The collection will consist eventually of ten volumes, the first nine of which will each cover a different region of the world. The first volume, MANAGEMENT WORKSHOP titled Africa, was published early this year. Each of the first nine volumes will for follow a similar organizational scheme. The first part of every volume will pro­ HOY CHOIRS vide an introduction to the culture under GIRL CHOIRS study, and it will include a survey of the musical scholarship and research. The sec­ CO II JDREN~S CHOIRS ond section will explore the fundamental issues and processes that are common to August 7-10,1998 the musics of the region. The last part on the campus gtSt. John s Univers/Zy will consist of essays on specific musical cultures within the region written by spe­ A workshop for business managers, staff members, volunteers cialists. In addition to numerous illustra­ tions, each volume also will contain a You'll Spend Three Intensive Days glossary of terms, a list of audio-visual Learning How To: resources, and a bibliography. Selected increase funding • write successful grants musical examples linked to the text will be contained on a compact disc included increase volunteer support • enhance community relations with every book. build a successful tour • create a working board The volume on Mrica represents a very promising beginning for the series. The Registration Deadline: July 1, 1998 articles are informative and scholarly, with broad coverage of the huge, diverse conti­ for complete information contact: nent. Part one, "Introduction to Mrican The St. John's Boys' Choir Music," contains four articles that pro­ Joann Weber, Workshop Coordinator 1 Swayed Pines Road; Collegeville, MN 56321 vide an overview of Mrican music and a 320/363-2558 (voice) • 320/363-2504 (fax) history of scholarship in the area. The visit us at http://www.users.csbsju.edulsjbchoir/index.html second section deals with several

MAY 1998 PAGE 61 emphasizes that music in African culture and "Foreign-Indigenous Interchange: volume four, SoutheastAsia;volume nine, is woven into performance along with The Yoruba" by Christopher Brooks. Australia and the Pacific Islands; volume dance, drama, language, and visual arts. The final section of the volume con­ two, South America, Mexico, Central This integration of music and the other tains articles on each region of the conti­ America, and the Caribbean; and volume arts becomes a recurrent theme in the nent. Articles on West Africa cover Yoruba five, South Asia: The Indian Subcontinent. following articles. Several essays trace the popular music, praise singing in Sierra Volumes titled Europe, The Middle East, influences of European colonization and Leone, and Hausa performance. An ex­ East Asia, and The United States and urban culture on traditional African mu­ cellent introductory chapter on the re­ Canada will be published in 1999. The sic. Two fascinating articles examine these gion by Jacqueline Cogdell DjeDje final volume also will be published in influences: "Rural-Urban Interchange: describes the training of professional mu­ 1999 with the title The World's Music: The Anlo-Ewe" by Daniel Avorgbedor sicians, their instruments, and musical General Perspectives and Reference Tools. styles in several ethnic groups in the sa­ At $125 per volume, this series is no vanna and forest areas of West Africa. small investment for college and univer­ Similar sections on North, East, Central, sity libraries with limited budgets. Never­ and South Africa complete the volume. theless, this reference collection promises CHORALWEB PUBLISHING, INC. The format will tempt some readers of to become the fundamental resource for this volume to treat it more like a book everyone interested in studying the music http://www.ChoraIWeb.com than an encyclopedia. In fact, this vol­ of the world's cultures. (208) 882-6760 ume could easily be used as a textbook for Choral Music Through the Internet the study ofAfrica's music. The accompa­ -CJ- View, Listen, Purchase and nying compact disc could be supple­ Download Choral Music over mented with audio-visual examples drawn the Intemet from the guide to recordings, films, and Music by Beebe, Butler, videos provided in the appendix. Spevacek, and others ... At the time of writing, the volumes scheduled to be published in 19,98 are MU I 5 AUGUST 3-8, 1998 AChoral Workshop ana Showcase in the beautiful Pocono Mountains of Pennsylvania at East Stroudsburg University, East Stroudsburg, PA Featuring Guest Composers:

School: Mary Donnelly & George Strido Michael & Jill Gallina 0 Greg Gilpin 0 Lee Kjelson • John Leavitt • Terre McPheeters 0 Norm Sands

Church: David Angerman • Don Besig & Nancy Price 0 Pepper Choplin • Lee Dengler • Mark Hayes 0 Lloyd Larson • J. Paul Williams • READING SESSIONS of the latest choral music from Shawnee Press, Wide World Music. GlorySound, Harold Flammer Music. Novello, and SandSoundS o CHOREOGRAPHY SESSIONS for elementary and junior/senior age levels on August 3 & 4 • STUDENT DEMONSTRATION PERFORMANCES of new school musicals and selected chorals • UVE CONCERT by john Leavitt and family on Tuesday evening • FIRST CALL REUNION in concert on Thursday, August 6 at 8 p.m. (Tickets also available for the public). FIRST CALL REUNION features the original FIRST CALL artists including Dick and Melodie Tunney. Aonce-in-a-lifetime opportunity to hear this highly talented and versatile group in concert • LIVE CONCERT by Mark Hayes and Pepper Choplin on Wednesday and Friday evenings • CHURCH MUSIC FESTIVAL featuring chorals with brass and percussion accompaniment ~o • SPECIAL-INTEREST SESSIONS: keyboard, organ, children's music, improvisation, music ministry, American Sign Language Shawnee Press, Inc.~~ August 3 - Elementary through Grade 8 • August 4 - jr.lSr. High through Adult 49 Waring Drive, P.O. Box 690 August 5 - Church Day I ., August 6 - Church Day 2 Delaware Water Gap, PA 18327-0690 August 7 - Church Day I (repeat of Aug. 5) • August 8 - Church Day 2 (repeat of Aug. 6) For a brochure, call: Teachers, attend BOTH SCHOOL DAYS for university credit. Call for details! 1-800-962-8584, Ext. 249.

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p.o. Box 16954-AZ Jacksonville, FL 32245 CALL TOLL FREE 1-800-847-7977 A New Tradition Begins For two weeks this July, singers and instrumentalists from all over the world will make their home in Salisbury, England to rehearse and perform in some of Britain's most magnificent churches and cathedrals. Festival participants will attend masterclasses by leading clinicians and hear recitals by internationally known performers. The Festival Chorus and Orchestra will perform Mozart's Requiem and Haydn's Lord Nelson Mass in Southwark Cathedral, London and in the beautiful Salisbury Cathedral. The 1998 Chorus-in­ Residence, the Brevard Festival Singers under the direction of Lewis Worthington, will per­ form in Coventry Cathedral and St. Mark's Church, Salisbury. The International Cathedral Music Festival is open to all experienced singers and instrumentalists by audition. Audition information, an itinerary and application is available by calling or writing to the address below or on our Web Site. Observers and Dr. Jeff W. Reynolds - Music Director, leMF non-singing guests are welcome. Chorus-in­ Director of Choral Activities University of Arkansas-Monticello Residence applications are now being accept­ ed for 1999, when the International Cathedral Music Festival will be centered in Oxford, England. A new tradition begins. An exciting musical experience awaits you!

.. ALSO ApPEARING Simon Lole . Organ recitalist, ICMF Dr. Angela Batey ol recto I' of Music Dr. David L Brunner Associate Director, ICMF Salisbury Cathedral Clinician, ICMF Associate Director of Director of Choral Activities Choral Studies University of University of Tennessee Central Florida

Undergraduate and graduate credit available through the University of Arkansas-Monticello. MU5ICA PRACTICA Nina Gilbert, editor

with the number of singers in each inter­ that reveal your expectations and options. Musica Practica discusses practical national choir. As a choral director, you How many people are at your festival? Is questions and decisions that fill the lives already exercise the skills needed to pro­ the format one long concert, or do a vari­ of choral musicians, and considers the duce a festival. The challenge is to apply ety of peripheral sessions punctuate the philosophical contexts such actions those skills on a larger scale. event? Where is the event-an audito­ imply. Please share your ideas by For choral directors who would like to rium? a church? classrooms? Once you sending them to Nina Gilbert, plan their own festivals, Musica Practica have gone through your mental re­ University of California, Department offers a range of decisions and options to hearsal, you are ready to start making of Music, Music 292, Building 714, consider, based on the work of John your festival happen. Irvine, California 92697-2775. You can Silantien and Jerry Blackstone, among also e-mail , or visit others. Silantien hosts an Invitational Fes­ Advance Decisions on the World Wide Web and Antonio. Blackstone started a Male Vocal wise to consult potential participating di­ find the link that says "May I quote Arts Day in 1990 at the University of rectors about their scheduling needs and you in the Choral Journal?" Michigan. By 1997 the event had ex­ conflicts. Are school choirs restricted by panded into a co-ed Vocal Arts Day with their own musical productions and other How to Run an Michigan's Men's and Women's Glee events, or by school policies about exam Clubs hosting 550 young men and 450 weeks? Do some directors also lead church Invitational Festival young women from several dozen Michi­ choirs, and do they need to keep Wednes­ HORAL FESTNALS remind us gan high schools. days or Thursdays clear? of the essential purpose of choral Procedures for such festivals vary with C singing: to bring people together the requirements, imagination, and orga­ in song. While festivals vary widely in nizational energy of the people involved­ Henriette Schnellenberg their details and procedures, their goals the needs and expectations of the "a clear, agile, liqllip voice" are relatively consistent. Goals typically participants and organizers. One way to include rewarding festival participants and start is to imagine the whole festival in Colwell encouraging them to continue singing, ARTS l\IANAGEMENT your mind, from your perspective and , (5]9) 662-3499 Fax: (519) 662-2777 and calling attention to some aspect of that of participants, and ask questions the sponsor of the festival. When colleges sponsor festivals for high-school singers, their purposes include recruiting future students for their vocal programs. When idealistic volunteers started the Interna­ tional Musical Eisteddfod in Llangollen, Simply . .. the best! Wales, in 1947, their purpose was to help restore world peace and harmony. Commercial festivals are thriving. Choirs can atrend festivals from Disney World to Des Moines, as well as overseas. MASTER MUSIC MANAGER Non-profit festivals range from a ca­ sual exchange by two choirs, possibly Easy-to-use computer resources for school and church musicians planned on short notice, to the over­ Macintosh® and Microsoft® WindowsTM versions include: whelming scale of the Eisteddfod. The Eisteddfod now involves fifty weeks of MUSic library Recordings library Membership Files preparation by thousands of volunteers Personal Directory Inventory Manager DataDesigner working in committees whose tasks range from organizing local teachers to select­ Easily customize any module, or design your own! ing 130 responsible schoolchildren to serve as ushers and program-sellers, to CaU MANAGER SOFTWARE for a FREE demo disk. canvassing every village within sixteen (800) 282-9220 • Monday-Friday • 9-5 Eastern Time miles of the festival site to match the Also available for church musicians ... Hymnlndex™ Worship Planner number of available beds in each village

MAY 1998 PAGE 65 Are you preparing materials and ac­ documentation. You can request that in­ of the directors. They are not preparing commodations for a specific number of formation on registration forms. Once a for a performance, and, since they do not participants? Could your festival cope with thousand singers are milling about at your need to bring their entire group, they can a walk-in crowd? festival, you cannot suddenly ask them all cope with individual schedule conflicts. Is there information you may need later to answer more questions. Is your festival for school choirs or and can best collect upon a group's ar­ How much advance material do you choirs from some other category? If some­ rival? You may need addresses or other need to distribute to convince prospec­ one outside that category wants to join data for a follow-up mailing, for example, tive participants that your festival will be your festival, can you stretch your limits? or specific information for budget a successful event worth attending? What Do you want your festival to be as preparation do you expect from partici­ large as possible? The University of Texas pants? Do you need to collect informa­ at San Antonio hosts an invitational festi­ tion from them in order to print a val for two high school choirs each year. program? Each choir offers a twenty-minute por­ "Professionally tailored gowns of lasting beauty." tion of a program that also includes a Participants performance by the university's concert FREE First, a question of purpose: is your choir and massed numbers led by catalog and festival for choirs or individuals? Are Silantien. Choirs are honored to partici­ fabric samples. choirs participating "as choirs," singing pate in this small, exclusive festival. Since 1955 ... their own programs? Or are individuals How do you attract participants? Once LYRIC coming together to rehearse as an ad hoc an annual festival is established, directors CHOIR GOWN co. choir for the festival? The advantage of recognize and look forward to your an­ the first option is that some directors are nouncements. Until then, however, your p.o. Box 16954-AZ more motivated to bring their choirs when mailings may be ignored, no matter how Jacksonville, FL 32245 they see the festival as a chance to perform inspired your program is. One director CALL TOLL FREE 1-800-847-7977 and to hear other choirs. The advantage sent a series of mailings to announce and of the second is that you are requiring less publicize a festival for high school choirs,

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PAGE 66 CHORAL JOURNAL one letter every few weeks. Mter the Will your festival include adjudicators candor, this is a favorite style of commu­ fourth letter, one conductor complained or clinicians? Would prizes and trophies nication. about the lack of advance notice-he had motivate choirs? Should your clinicians Competitive festivals for full choirs not opened the first three letters because offer only comments, or actually work may require a set piece, a work that each they looked like anonymous junk mail. with each choir? If your clinicians coach choir prepares. The Eisteddfod and other Personal contact with choir directors will the groups, should their coaching be pub­ established British festivals include set be more effective. Long-term relation­ lic or private, and before or after the per­ pieces in some categories of competition. ships with directors, beyond your festival formance? A festival that includes massed performance involvement, are even more effective. In 1985 N aney Menk started the Saint necessarily includes some required reper­ For its Vocal Arts Day each January, Mary's College High School Women's toire. the University of Michigan sends invita­ Choir Festival in Notre Dame, Indiana. tions in September to each high school in Menk hires three commentators who ro­ the state. While schools may bring any tate responsibilities for each choir. Two of number of singers, the university has them write comment sheets as the third M1JSICA~ I\, ()WI.L"-NI (~.L~® .~ sometimes rejected registrations when works with the choir onstage immedi­ they reached the capacity of their facili­ ately after its performance. The onstage YOLlr exc.ILlsive SOLlrc.e Tor ~omanian c.horal mLlslc. and beyond ... ties. Knowledge of that possibility moti­ commentator wears a wireless microphone vates directors to register their students so the audience can hear the comments. ~ CATALOG and early. Another medium for comments is a SAMPLER TAPE! cassette recorder. AI:, the choir sings, the Money clinician murmurs into the recorder so P. O. Box 27830 Seattle, W A 98125-2830 Who pays how much, to whom, for that choir members can hear their singing Phone· (206) 364":4225 what? Do you need to rent a venue? Do behind the comments. For adjudicators Fax· (206) 364-4569 E-mail. [email protected] your plans require special sound equip­ who enjoy the risk of spontaneity and ment? Publicity-especially postage­ may be your biggest expense, depending on what components you choose to in­ clude in your festival. Each participant in Michigan's Vocal Arts Day pays $15, and receives four pieces of music and a commemorative t-shirt. One of San Antonio's two visiting choirs travels from out of town, and Silantien explains, "We pay the bus and housing expenses of the out-of-town choir and give each group a plaque at the end." The University of California-Irvine spon­ sors festivals for men's, women's, and chamber choirs. Each participating choir pays a $50 administrative fee toward the cost of adjudicators, clinicians, guest art­ ists, and pizza. The Eisteddfod pays five administra­ tive staff members-a full-time secretary, a full-time marketing director, and three MOST.' PROFITABLE • Each booklet produces S80 in don'stions part-time staff. Paid professional staff in­ o,f whIch S60 profit is retained py your group. cludes adjudicators, comperes (masters of • That's a 300% return on inv~stment.l ' ceremonies), and accompanists. HASSLE-FREE • N,o large.. lr1\/i:mt~ries. • Non-perishable. easY-to-u~e. • 30 days financing available. ; Events and Options • No door to door sates' neces:s.ary. Ifyour festival is for choirs that present EASY.TOORDER . their own short programs, your basic plan • Choose your logo .• Call our toll free number can be for a long concert. Participating • Receive your Booklets in 4-7 daysl directors at the Irvine festivals cite the opportunity to hear each other's choirs as 1-800-347-7892 a strength of the festival.

MAY 1998 PAGE 67 Blackstone itemizes his requirements Silantien opens his San Antonio festi­ with their respective high school col­ for festival repertoire, as he chooses three val with two rounds-Welcome to this leagues," Blackstone explains. "This gives or four festival pieces each year: music Music Feast and 0 Music, Sweet Music,­ the young singers the opportunity to hear must be easy to learn and possible for the and closes with another massed number, older singers demonstrate and to be sur­ groups to sing at home. He emphasizes River in Judea. rounded and supported by their more standard repertoire that young men If your festival is for individual singers mature colleagues." Blackstone's assistant should be learning and seeks variety in who become a choir for the occasion, in organizing this year's Vocal Arts Day is tempo and expression. "It is important then your format can be essentially a re­ Bill Stevenson, a junior who has partici- that we can make good progress in the hearsal plan. Blackstone's schedule for . each year since he was a sophomore short amount of time we have together Michigan's Vocal Arts Day starts with half , ' school. "I remember rehearsing on the festival day," he says. He avoids an hour of registration followed by a two . , '. B., when he asked only Michi­ "pieces that are complex and pieces in hour rehearsal. At that rehearsal, soml !n to sing," Stevenson recalls which the notes will take a long time to Men's and Women's Glee Club members from his first festival. "I was learn, given the very limited rehearsal join the high school singers at their re­ .cd." time." He also avoids foreign languages, spective sessions. After the first rehears2.l, iichigan's Men's and Women's Vocal with the exception of Latin. "I have found the schedule includes a short workshop : ay ends with an informal public that it's important to choose pieces that before lunch. Such workshops may b,~ 'ance. The massed groups offer are immediately accessible, yet have great presentations by University of Michigan l work-in-progress than a finished possibilities for refinement." voice faculty or-an inspired idea-dem­ ,ct," says Blackstone, while the uni­ onstrations and song-teaching sessions by w~sity Men's and Women's Glee Clubs NEW! The Friars, an a cappella group within the p"psent polished concert repertoire. "With 1998 Holiday Men's Glee Club. c. ' r a thousand singers," he notes, "we Choral Brochure After lunch and optional campus tours, h •.ve found that it works best to invite the and FREE sample packet! the singers meet for another two-hour al,dience to sit on the risers on the stage Theodore Presser Co. rehearsal. "The entire membership of the w.lile the massed groups sing from the Dept. 4CJ· 1 Presser PI. -Bryn Mawr, PA • 190 I 0 -or- E-mail [email protected] Men's and Women's Glee Clubs rehearses at ditorium seats."

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PAGE 68 CHORAL JOURNAL Logistics professionals. It is important to remem­ Is your venue accessible to buses? Participants, audience, and professil' J ber that while your guest adjudicators or Where can buses or other vehicles park? staff may need maps and directions to get clinicians are top experts in their fields, Do you need special permission to invite to your festival. Adjudicators or clinicians they will still need information that is visitors to your site? Do you need to alert may need transportation from an air­ specific to your situation-from how to security and custodial workers? Are you port-and your assistants may consider it find food and water to whether you ex­ using a facility at a time when it is not an honor to provide that transport and pect them to make a speech. usually open? have some time alone with your visit' g How can visitors get information once they arrive-do you have assistants who can be recogni:zed by outsiders? What re­ '" <,'Mii~:~a,Pf~~rica: assuring information can you send in Ihstalltn~J:its'i-21,' ,.January 1989, •, t' \: .• < ,.Au~st 1992 ' Inaugural cblufun: A ,"choirrnidterm~'" " 'Inexpensive investments in choir morale: as one solution to the. problem ofdis- . ,.:t-shiits; postcards:, Tlierriatic program- rracting times inchoirmel11bers' .liv~s, ·.ming":::,,c;uestcompos(!rl;aqangetlcon­ , ducior; .• great poets and poetry; .. voices with percussion; contrasts. between Old World' and· New. World, Britain' and Broadway; short contrasting Mass. set- ·tiJ:lgs. ..

\ ',;'" !<'~: /,;:," ,'.' ,i\.prilJ990 ": .•.• ' ....•. Hear The American Awltwardtexi:s:word~that hav(! taken •.• 'i .'. Boychoir, the Australian Boychoir, the Czech .on sl~g me~ngs siIJ.ceilieY'Ye~~s~t,·II· ( Boni Pueri, and the Oriental Star Boys Choir .' irn.d",ords . that .have' becoiner~mg~I' i. , from Mainland China - plus Festival concerts nizedas politically. offensive. Multicsen~ .! .!. featuring 600 men & boys! sory performance practice: '1940sswing.!.) . cabaret, medieval Yuleteast: '; I \ III I..EARNING More than 30 sessions: \';j,' conducting & rehearsal techniques, voice care & pedagogy, specialized sessions dealing with boy choir methods, international opportunities & trends in choral music, building strong support systems & much, much more. All Thematic pr~graImniIlg,Bar9qu(!;, , sessions taught by experts in the field. neo~ l?ar()que,IIlci~(!ts;.llew ;mlLSic~'i rl , ,9.1dc9Il~(!g~oll~;~·gi~u§:i.nd ,protdnG 1I'!Io.... ~~Appreciating Choral Diversity: : vv()rks[rom thesarne~8rn:poser;mu~~b & American choral literature ". for seasori.s;holidays'ahabirti}da~V hand picked & presented by international ,,/•• ', ~~Yl~91d'> ...{ conductors: Finest quality music selections Musical chari1:y projects, from:Hari, for singers of all ages. MissiahtoWe Are tbeWOrld. '. . 3 Hours of Continuing Education Academic Credit Location: 8t. John's University - an extraordinary environment. Concurrent with the AmericaFestlnternational Festival for Men & Boys.

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MAY 1998 PAGE 69 *********************** = Plan now to attend the annual = advance-maps and schedules of your festival's events? Do you need to know exactly who has arrived? If you need to distribute something to your partici­ i UCLA i pants-tickets, schedules, cookies-can you distribute your material from enough * * stations so that things move quickly? Are you providing food? If not, can = SUMMER CHORAL = you give participants a list of places to buy refreshments? If you are sending sev­ = WORKSHOP = eral hundred people to a few restaurants, * on the beautifully wooded UCLA campus in Westwood * should you let the owners know about the possibility of extra customers-or per­ * with * haps arrange to have discount coupons for your visitors? = DONALD NEUEN = Are you making and displaying infor­ mative or decorative signs and banners? = Professor of Conducting and Director of Choral Activities = Do you need permission or clearance for them? If someone is making signs for you, * PLUS GUEST CLINICIANS: * is there a reliable proofreader involved? * Paul Salamunovich, Conductor, Los Angeles Master Chorale * Is someone announcing events from Alexander Treger, Concertmaster, Los Angeles Philharmonic your main stage? Do your announcers * * need a sound system, even if the performers * Timothy Mussard, Head, UCLA Voice Department * do not? Can your announcers pronounce everything they need to promounce, or * TWO WEEKS: JULy 27 - AUGUST 7, 1998 * can you find time to coach them? Might * Positive, Supportive, Motivating, * the directors or representatives of visiting Practical, Intense Hard Work choirs do their own announcing? Can * * your announcer improvise while choirs move to and from the stage? * TWO FULL-CREDIT COURSES * If people need to enter and leave the * (take one or both for credit or non-credit) * stage, do they know where to go? Do they need assigned seating areas in the audito­ = CHORAL TECHNIQUES = rium? If you have planned a pattern for ~ (MORNINGS) ~ stage traffic (choirs enter stage right, for ~ Developing an exciting choral sound; Rhythmic interest, forward motion, ~ example, and leave stage left), how and * & phrasing; Section characteristics, problems, & solutions; Diction, * when will you communicate that to * projection, & communication; Unified vowel formation & tone color; * people who need to know it? ~ Score study, analysis, & preparation; Rehearsal techniques, pacing, & ~ Do visiting performers need to warm ~ planning; Vocalizing & warm-ups; Breath support & control ~ up? Do they have an offstage warm-up space and time, or do they fend for them­ * CHORAL CONDUCTING * selves and sing, say, in the parking lot? * (AFTERNOONS) * Do they get a moment onstage without * Practical concepts of artistic musical conducting; Instrumental techniques * an audience? ~ for the choral conductor; Becoming a true reflection of the score; Intensified ~ Do you make concluding remarks at ~ conductorial communication; Beat patterns and styles that really work; ~ the end of your festival? Is everyone to­ * Rehearsal techniques & related topics; Mixed meter conducting; Under- * gether to hear them? When your crowd standing the needs of your forces; Videotaped analysis of your work * * disperses, does traffic flow smoothly? * DONALD NEUEN brings to this workshop his extensive experience plus his * Goals and Results * private study with Robert Shaw, Roger Wagner, Iulius.Herford, Alfred Mann, * * Lara Hoggard, and many other prominent conductors and musicologists. * What does a festival achieve? Michi­ gan high school teachers tell Blackstone ! For information and an application, write to: ! that Vocal Arts Day "has had a positive ~ Summer Choral Workshop • UCLA Department of Music ~ impact on choral singing in the state." Schoenberg Hall - Box 951616, Los Angeles, CA 90095-1616 Blackstone and Silantien both mention * * the benefit of having interested, attentive Phone: (310) 825-4036; FAX: (310) 206-4738 * * high school students hear their university *********************** choirs-more effective and efficient PAGE 70 CHORAL JOURNAL exposure, Blackstone notes, than transport­ ing his choirs to sing at high school assem­ Finest Fabrics including blies. Permanent Press and Wash & Wear. Superior Quality. Free Color Besides fostering world peace and har­ Catalog and Fabric Swatches on mony, the organizers of the Eisteddfod Requesl. Guaranteed Satisfaction. Toll Free 1-800-826-8612 also appreciate the impact of their festival on the lives of young singers. Their favor­ ite story of such impact comes from the 1955 festival. The director of the Rossini Choral Society, from Modena, Italy, was literally stunned when his group won first prize in the male choir category-he fainted. The whole choir crowded onstage to collect the prize in his place. Among .EUR()PEANcfjNCERT·.TOURS·. them was a nineteen-year-old tenor who was studying to be an elementary school teacher. Eisteddfod officials proudly * suggest that this experience inspired that young man-Luciano Pavarotti-to dedicate his life to singing. -C]-

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IRST UNITED METHODIST FCHURCH, Cuyahoga Falls, Ohio, Director of Music a 3000-member church located adjacent to Akron and Cleveland, is ILLAGE PRESBYTERIAN seeking a full time director of music. Church, a 6,000-member The director will have primary congregation in Prairie Full-time Artistic Director is responsible V responsibility for a 70-voice adult Village, Kansas, a suburb of for artistic, musical and educational stan­ choir, a 60-voice high school youth Kansas City, is seeking a full-time dards of highly respected, $.75 million or­ choir, and a 65-voice middle school­ Director of Music. The director will ganization; programming for concerts, re­ age choir, working as a team with enhance, develop, and nurture a cordings, international touring, opera/or­ other staff members. Four children's top-quality music program consist­ chestral soloists, and collaborations. choirs are mainly directed by ing of eleven performing groups volunteers under the supervision and and will be responsible for the Requires outstanding leadership skills; coordination of the director of 200-voice Chancel Choir, during high degree of experience with boys voices music. The successful applicant will three identical Sunday worship and ability to inspire and motivate ages 8 have a high degree of musicianship services, and any special programs. - adult; broad knowledge of repertoire with with emphasis on vocal and choral Director reports to the senior wide diversity of styles including choral! performance, a desire to minister to pastor, Dr. Robert BohL and works orchestral, European cathedral tradition, the choir members, excellent closely with staff, volunteers, and multi-cultural, and popular choreographed; organizational and managerial skills the Worship and Music Committee. organized management style; ability to to supervise two staff members, Post-graduate degree preferred, as fundraise and build constituencies. excellent relational skills and the well as experience administering ability to motivate persons to and conducting large choral Send confidential applications to: participate in our strong and very groups. Artistic Director Search important music ministry. A Please submit resume, request Phoenix Boys Choir bachelors degree is required, a for job description, or further 1131 East Missouri Avenue masters degree is preferred. Include inquiries to: Phoenix, AZ 85014-2709 salary range requirement with Music Search Committee Salary commensurate with experience. resume. Benefits provided. Send resume and a list of references by Village Presbyterian Church Letters of inquiry must be received by June P. O. Box 8050 June 10, 1998, to Carol Lewis, 30, 1998. Interview process will begin in Prairie Village, KS 66208 Administrative Assistant to the Fall of 1998. Position start date: 6/1/99. (913) 262-4300 Senior Minister, First United (913) 262-0304 (fax) The Phoenix Boys Choir Association is an Methodist Church, 245 Portage Trail, Equal Opportunity Employer. Cuyahoga Falls, OH 44221.

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Sergei Rachmaninov by two hymns glorifYing the resurrection Vespers, 0P' 37 (13 and 14). The final hymn (15), begin­ RECORDING The Russian Chamber Chorus with the ning the traditional first-hour services of COMPANIES THIS ISSUE Voskreseniye Choir of Moscow, Andrei readings, is an anthem that again glorifies Roudenko, conductor the Mother of God. Berlin Classics' Recorded: April 1992, released: 1995 Nine of the fifteen movements are Koch International, agent Northeastern Records, Classical Arts NR based on ancient liturgical chants; five are 2 Tri-Harbor Court 256-CD; 67:30 Znamenny, two are Kiev, and two are Port Washington, NY 11050 Byzantine chants. The remaining move­ N FIRST hearing, the quality ments are in Rachmaninov's characteris­ Capriccio Records of the performance on this CD tic Russian Orthodox chant style. The Delta Music, Inc., agent O is disappointing, and one may entire work reflects the rhythm and ca­ 2500 Broadway: Avenue;:, Suite 380 conclude that the choir did not undergo dence of Orthodox liturgy with little , Sant~ Monica, CA 90404 ' the careful preparation that precedes the tempo variation except for the final move­ recording of a significant work. Problems ment, for which Rachmaninov designates Carus Verlag of blend, intonation, persistent sharp sing­ an "allegro con brio; molto ritmico" style Sielminger Str.51 ing, and some tentative beginnings are all and tempo. 70771 U-Echterdingen;Germany too apparent. The significance of this re­ The interpretation of the Vespers by cording becomes clear, however, when we Andrei Roudenko of the Russian Cham­ Deutsche'Gramm~phon discover that the Russian Chamber Cho­ ber Chorus achieves a sense of excitement PolyGram Classics and Jazz, agent rus, consisting of Boston-area soloists and through dynamic contrast and a typical Worldwide Plaza choral singers, was combined with the Russian choral sound with rich, sonorous 825 Eighth Avenue Voskreseniye Choir of Moscow in April basses; clear, high tenors; and strong, full­ New York, NY 10019 1992 to celebrate the first Easter services throated women's voices. It is to the credit sanctioned by the Russian government in of those singers listed as "octavist, basso­ Discover Records' more than seventy years. A collaboration profundo" (all from the Boston-based Koch International, agent of East and West during this period in choir) that this performance has none of 2 Tri-Harbor Court Russia's history was a memorable event, the growling low notes often associated Port Washington, NY 11050 and this achievement lends significance with Russian choruses. In the early move­ and a palpable excitement to the record­ ments, this ensemble tends to sing sharp Northeastern Records ing of a work that represents the pinnacle while struggling with the problem of vi­ P:O; Box 3589 ' of Russian liturgical music. bratos that are not complementary. In The vesper service of the Russian Or­ movements eight through twelve, the sing­ thodox Church (or All-Night Vigil) in­ ers achieve a much better blend and a Sony Classical cludes vespers, matins, and the first-hour notable clarity in the women's voices (es­ 550 MadisonAvenue services. Rachmaninov set only a small pecially the sopranos) with some of the New Ymk,NY 10022 portion of the full service that begins in best tuning of the entire work. The final the evening and concludes at sunrise with movement, "To Thee, the Victorious ,.Telarc a mass. The vespers portion (movements Leader," shows these two choirs at their 23307 Commerce Park RO

MAY 1998 PAGE 73 The parallel between the musical emotional, demanding, and highly Brigitte Poschner, Barbara Bonney, sopra­ rebirth that Vespers represents and rewarding monument to these nos; Dalia Schaechter, Margareta the potential for social rebirth in historic events and served as a vivid Hintermeier, altos; Russia after its failed experiment symbol of our hopes and beliefs in Schumann, Robert, Requiem for Mignon with communism was strikingly an even brighter future.! aus Goethes "Wilhelm Mesiter, "op., 98b natural. Indeed, Vespers. was an The Chamber Orchestra of Europe, Gerald Neufeld Konzertvereinigung Wiener Staatsop­ University o/Western Ontario ernchor, Claudio Abbado, conductor MENDElSS~HN CLUB London, Ontario Live recordings of the G-Major Mass and OF PHllADElP'HIA • Tantum ergo, 1992 Alan Harler, Music Director NOTES Deutsche Grammophon, 435 486-2, Position available for the I Andrei Roudenko, CD notes, p. 3. DDD; 45:33 1998-99 Season Apprenticeship in Franz Schubert Mass No.2 in G Major, D. 167,24:40 Community Chorus Leadership for Conductors. Messe G Major, D. 167,21:28 Ludmila Vernerova, soprano; Richard Barbara Bonney, soprano; Jorge Antonio Sporka, tenor; Roman Janal, bass; Provides conductors with hands-on Pita, tenor; Andreas Schmidt, bass; Romano Gandolfi, conductor experience in both artistic and organizational leadership Also includes: Tantum ergo, D. 962, 6:27 Mass No.4 in C Major, D. 452, 20:54 Barbara Bonney, soprano, Dalia Marta Filova, soprano; Marta Benackova, Stipend: $2000 Schaechter, alto, Jorge Antonio Pita, tenor, alto; Walter Coppola, tenor; Miroslav Application Deadline: July 15, 1998 Information and Applications available from Andreas Schmidt, bass; Podskalsky, bass; Ulrich Backofen, con­ Mendelssolm Club of Philadelpbia Der 23 Psalm, op. post. 132, D. 706, ductor 1218 Locust Sf. Philadelphia, PA 19107 5:06 Also includes: Mass No.3 in B~ Major, (215) 735-9922 D. 324,28:06

PAGE 74 CHORAL JOURNAL Ludmila Vernerova, soprano; Lenka Orpheus Orchester Wien, Wiener Wiener Sangerknaben, Chorus Viennensis, Smidova, mezzo-soprano; Rodrigo Kammerchor, Johannes Prinz, conductor Orchestra of the Age of Englightenment, Orrego, tenor; Jiri Sulzenko, bass; Jack Recorded April 1996 Bruno Weil, conductor Martin Handler, conductor Carus 83.139 [DDD]; 71:42 Recorded: September 1995 Virtuosi di Praga, Prague Chamber Choir Sony Classical, SK68 248 [DDD]; 53:34 Recorded 1995 Franz Schubert Discover, DICD 920228 [DDD]; 74:23 Mass No.6 in H Major, D. 950 Franz Schubert Distributed by Koch International Soile Isokoski, soprano; Martina Borst, Missa solemnis, N Major, No.5, D. 678 alto; Christoph Pn:!gardien, tenor; Peter Luba Orgonasova, soprano; Birgit Franz Schubert Gronlund, tenor; Cornelius Hauptman, Remmert, contralto; Deon van der Walt, CD #1 - 49 0814,71:15 bass tenor; Anton Scharinger, bass Mass in G Major, D. 167, 22:30 Kammerchor Stugggart, Deutsche Mass in C Major, D. 452, 24:38 Kammerphilharmonie, Frieder Bernius, Ildiko Raimondi, soprano; Elisabeth conductor Lang, alto; Helmut Wildhaber, tenor; Recorded 1995 Klaus Mertens, bass Berlin Classics 0011652BC [DDD]; ~9~O~X~~,\~~~~~) Hugo-Distler-Chor, Wiener Akademie, 51:33 RASER VALLEY CHRISTIAN IDGH Martin Haselbock, conductor F SCHOOL, an interdenominational (also includes the Deutsche Messe, D 872 Franz Schubert Christian school with 430 students in grades 8- 12, is looking for a Choir and Band Teacher for with different soloists, chorus, orchestra, Mass in C Major, op. 48, D. 452, the 1998-99 school year. Applicants must have and conductor Also includes: Mass in Bb Major, op. post. British Columbia teacher qualification or qualify CD #2 - 490821,56:50 141, D. 324 for it. Please send resumes to Al Boerema, Mass in H Major, D. 950, 52:49 Alexander Nader, Thomas Puchegger, so­ Principal, 15353 92ndAvenue., Surrey, BC, V3R Ildiko Raimondi, soprano; Bernarda Fink, pranos; Goerg Leskovich, Bela Fischer, lC3, Canada. Phone: 604/581-1033; Fax: 604/ 581-1712; E-mail: [email protected]. mezzo-soprano; Herbert Lippert, tenor; altos; Jorg Hering, tenor; Harry van der Franz-Joseph Selig, bass Kamp, bass Hugo-Distler-Chor, Wiener Akademie, Martin Haselbock, conductor (also includes Tantum ergo, op. 45, D. 739 with same performing forces) Recorded 1996 N.B.: Both CDs are packaged together as Capriccio 49 080 7, [DDD]

Franz Schubert Mass No.2 in G Major, D. 167 , soprano; David Gordon, THE INSTITUTE FOR SACRED MUSIC tenor; William Stone, baritone announces its Mass No.6 in H Major, D. 950 FIRST ANNUAL SUMMER CHORAL WORKSHOP Benita Valente, soprano; Marietta Simpson, mezzo-soprano; Jon Humphrey, Dr. Alfred Calabrese tenor; Glenn Siebert, tenor; Myron Myers, Director of Choral and Sacred Music baritone Atlanta Symphony Orchestra and Cho­ June 22 to July 3, 1998 rus; Robert Shaw, conductor for high school, college, and adult students Recorded December 1988 and February Daniel E. Gawthrop, Guest Clinician 1989 Final performance features his Behold This Mystery Telarc CD-80212 [DDD]; 77:45 COURSES MUSIC ANDTHE BIBLE, CHORUS, THEORy/SIGHT-SINGING, CONDUCTING Franz Schubert ApPLIED VOICE LESSONS Mass in G Major, D. 167,21:17 Edith Lienbacher, soprano; Alexander Cosponsored by the Brevard Sacred Music Project, John Simons, Director Kaimbacher, tenor; Anton Scharinger, for more information bass Office of Admissions, Brevard OJllege, 400 N. Broad St., Brevard, NC 28712 800.527.9090 or 828.884.8300 email [email protected] Also includes: Magnificat, D. 486; Deutsches salve regina, D. 379; Salve Regina in B, D. 386, and Deutsche Messe, D. 872

MAY 1998 PAGE 75 Chamber Orchestra of Europe, Arnold scaled-down Vienna State Opera Chorus autograph figuration of the continuo line, Schoenberg Chor, Nikolaus Harnoncourt, provides a sumptuous yet respectful and ad libitum trumpet and timpani parts. conductor sound. Recording balances seem to favor Schubert's brother Ferdinand later added Live recording, June 25, 1995 the orchestra in some places, and Abbado wind parts to the mass, which was first Teldec 4509-98422-2 [DDD]; 50:02 lavishes an extra dollop of schlag on an published in Prague in 1846 and falsely Agnus Dei that is flavorful enough on its attributed to Robert Fiihrer. Prinz's dy­ N THE YEARS leading to 1997, the own. namic contrasts are more understated than Schubert anniversary year, choral Johanns Prinz strives for authenticity Abbado's, and the overall sound, though I music afficionados and devotees of in his performance of the G-Major Mass. studio recorded, is curiously distant. Prinz Schubert's music were rewarded with a He uses Schubert's autograph parts uses a much younger Vienese choir with a rich harvest of recordings. Claudio from the Benedictine monastery of more astringent soprano sound. The win­ Abbado brings an international flavor to Klosterneuburg with changes in notes, ner here is the sweet-toned tenor soloist, his rendition of the G-Major Mass. A articulation, and tempos, complete Alexander Kaimbacher. The Discover-Koch International disc has three masses with three conductors and three different sets of soloists. This MUSICFEST ORLANDO could be maddening, but with the Vir­ tuosi di Praga and the Prague Chamber "Florida's Premier Music Festival" Choir as the glue holding this project together, such a smorgasbord ends up be­ ing quite interesting. Romano Gandolphi yields a much slower Kyrie, and his Credo at j = 64 to the quarter note is arresting when compared to Abbado's and Prinz's tempos, which clock in at 96 and 92, Hosted at the WALT DISNEY WORLD® Resort respectively. Better recording balances are MARCH 5 - JUNE 12, 1999 achieved between the choir and orches­ A high quality festival for CONCERT CHOIRS, CHAMBER CHOIRS, SHOW AND JAZZ tra. IfAbbado's Agnus Dei is overly sweet­ CHOIRS, as well as for MEN'S and WOMEN'S CHORUSES. Divisions include junior! ened, Gandolfi's suffers from a senior high schools and college. A full range of instrumental adjudication is also available. heart-on-sleeve treatment. Bass Roman Janal is a disappointment among the so­ Groups may perform for "Comments Only," for "Ratings," or in "Competition." Each group will receive an on-stage critique!c1inic from one member of the adjudication panel. loists, but the great advantage to this re­ cording is inclusion of three early masses ALL STAR ADJUDICATION PANEL includes: Gene Brooks, John Haberlen, Jerry Jordan, on one CD. Michael Jo Scheibe, John Paul Johnson, Russell Robinson, David Brunner, Jeff Reynolds, If one seeks an "authentic" sound from Duncan Couch, John Sinclair, John Purifoy, Ken Fulton, Chuck Robinson, Cal and Gail Gage, the instruments, Martin Haselbock's G­ Bob Holquist, Angie Batey, Jim Marrow, and Ray Chenault. Major mass performance would be the best choice. The phrasing in pairs is nicely "FESTIV AL ONLY" done without drawing undue attention PACKAGES to itself. Haselbock strikes a middle ground in the Credo tempo = and INDIVIDUALS WILL RECEIVE ... (j 88), the soprano soloist, Ildiko Raimondi, • Festival Registration for MUSICFEST ORLANDO more than holds her own in a very com­ • 3-Day "Festival Passpon" to the WALT DISNEY WORLD'" Reson with Unlimited Use of the Parks and the Disney Transponation System petitive field of artists on the other re­ • Awards Presentation at the WALT DISNEY WORLD Reson cordings. The Hugo-Distler-Chor, • Commemorative Festival Patch or Pin however, is unrefined sounding with some • Four Day Packages also available strident individual voices peeking through. ALL GROUPS WILL RECEIVE .•• Shaw's G-Major Mass Credo move­ • 2 FREE PACKAGES for directors incluGmg MUSICFEST ORLANDO shin. and ment takes a leisurely tempo (j = 62). He a Patch or Pin (based on a minimum of 30 paid persons). Groups with less than 30 introduces several small touches I missed will receive I FREE PACKAGE. • Engraved Plaque with Ratings for each performance in the other recordings, such as the • Adjudication sheets with taped comments sforzandos in the Kyrie immediately be­ • On-stage critique with one member of the adjudication panel following concen perfomlllllce fore the recapitulation and word-coloring Call MUSICFEST ORLANDO that treats the text almost as a libretto Toll-Free 1-800-734-0482 rather than holy writ. Shaw's chorus matches the bass pizzicato in the beginning

PAGE 76 CHORAL JOURNAL of the Credo then switches to a contrast­ Still, Schubert's letters indicate he had est" is unusual and effective, and Bernius's ing legato. Telarc sometimes te~ds to dis­ an aversion to the official church and its supple treatment of rhythms is attention­ tance the chorus in their Atlanta leadership. He resented the very reli­ getting. As fussy and mannered as I some­ recordings to the point of wooliness, but gious upbringing at the hands of an intol­ times find Bernius's interpretations to be, such is certainly not the case on this disc. erant father and his religion-based much detail seems oddly lost in some Perhaps the smaller orchestra was a help schooling as a boy soprano at the orchestral passages. in this instance. The string sound on the Hofkapelle that he likened to a prison In the Telarc recording of the B-Major Agnus Dei is delicious. Dawn Upshaw is sentence. Many published editions of the Mass, one can almost hear Shaw remind­ heard to particular advantage in this re­ masses insert optional texts that Schubert ing the Atlanta Symphony Chorus in the cording. omitted, but all these recordings respect Much has been made of Schubert's Schubert's original wishes. The Tempowatch seeming cavalier approach to text omis­ Schubert's mass settings evolved from sions in his masses. It has been suggested liturgical pieces that adhered to an un­ that Schubert did not accept unquestion­ written, yet seriously implied, forty-five­ inglyall the articles of faith in the Catho­ minute length for the complete mass to lic Church and took a rather liberal larger-scale works intended for the con­ you are conducting, attitude in text settings. Nikolaus cert hall. The extended B-Major Mass teaching, Harnoncourt reminds us in his notes to was the only setting Schubert did not listening or the Mass in A Major, however: hear duting his lifetime. Frieder Bernius composing. takes a rather individualized approach to Ever since they were first set to this work that already bears a very strong Toll Free 1-888-803-6287 music, the words of the Gloria and identity. Schubert's orchestral introduc­ [email protected] Credo have been treated selectively. tion to "Domine Deus" and later use of It is not true that Schubert did not tympani presage Verdi's operatic approach ~ind ~t ~ast! with set a particular phrase because he to sacred works. The theme of the "Cum www.allthingsmusical.com did not believe in it.... Even Bach sancto Spiritu" fugue portends pedantry, The Complete Music EduCBtion Resource Web Site and Haydn, whose loyalty to the but the ensuing harmonization is simply All Music Products, Services, Events, Classifieds - on Searchable Databases! church is not in doubt, omitted staggering. Schubert's use of two tenors Toll Free 1-888-803-6287 individual lines. and soprano soli in the "Et incarnatus

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MAY 1998 PAGE 77 Kyrie, "Don't sing the dotsr' As with the the orchestral and choral forces comple­ However, when a robust forte is needed, Mass in G Major, the choral sound is ment each other. The chorus's rhythmic the choir seems to be a bit lacking; admit­ much more forward, as opposed to that incisiveness in the brief unaccompanied tedly, they are a much smaller group. The of the Stuggart Karnmerchor. Telarc has passages in the Gloria is hair-raising. use of period instruments is telling in this taken obvious pains to bring out more of While bringing more dramatic inten­ recording. The brass outbursts in the the orchestral detail. Even when doubling, sity to the proceedings, Shaw makes "CruciflXUS" are a case in point. Fp and Schubert's bold harmonic gestures less in­ sfo markings are very striking, but the trusive and more a part of the fabric. The doublings in the lengthy "Et vitam ven­ IRECTOR OF WORSHIP AND D MUSIC. 3800 member Presbyterian Credo gains in crispness, and Jon turi" fugue turn into a bit of a battle in (PCUSA) church in Seattle seeks committed Humphrey and Glenn Siebert are a much terms of balance. Christian with the heart of a pastor, a vision better match than Bernius's pair of tenor There are gestures in the Mass in C for worship and the ability to apply a strong soloists. The strings' chordal rhythms at Major that hint at Schubert's wish to paint Biblical foundation to worship. Candidate will plan and coordinate worship and music for the "CrucifJJcus" are much better outlined broader strokes on a larger canvas. In three Sunday morning, and other special in Shaw's recording than in Bernius's, and Haselbock's rendition one is conscious of services, conduct two adult choirs, facilitate the transition into the "Osanna" fugue in a prodigious young talent born into a development of the choir program across all the Sanctus is very well thought-out. De­ musical family steeped in Vienese tradi­ age groups, and supervise evolution of a strong instrumental program. Must have an earned spite Schubert's sparing use of the soloists tion. His performance of this evocative music degree, broad knowledge of and in this work, the "Et incarnatus" trio and work is as pivotal to him as a conductor experience with the sacred music repertoire, and the bold antiphonal use of the soloists as it was to Schubert as a composer. demonstrated ability to administer a worship and chorus in the "dona nobis pacem" are Haselbock is arOOous to put some old and music program in a large evangelical church. For an information packet, please masterstrokes. wine into new bottles. contact Tom Oldham, Search Committee at In Haselbock's recording of the Mass Bruno Weil's version of the same work University Presbyterian Church, 4540 15th in H the Hugo-Distler-Chor lacks the uses the Vienna Boychoir (a sound with Ave. NE, Seattle, WA. 98105. Call206-524- 7300. Fax 206-523-1284, attention Christi crispness in the dotted rhythms displayed which Schubert was familiar) and the Scovil. by Shaw's chorus, but their Germanic Chorus Viennensis, assigning boys to the Latin and brighter vowels are a plus. soprano and alto solo roles, and using

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PAGE 78 CHORAL JOURNAL period instruments. He also tunes the or­ chestra to the appropriate pitch of a1=430. Yet with all those advantages, this recording is a disappointment. The boys' voices are not particularly attractive, the often busy accompanimental figures are smudged al­ most to the point of being non-existent, and the soloists' sound lacks immediacy, as if their microphones were covered with gauze. This recording includes both ver­ sions of the Benedictus-one for soprano solo, another for chorus. Listening to the soprano soloist is not a pleasant experi­ ence, and Haselbock's choral Benedictus is superior to Weil's. Many of us were first introduced to early music and stylistic playing on period instruments by Nikolaus Harnoncourt and the Concentus Musicus Wien. Their work predated many of the English early music ensembles that have proliferated and eclipsed that impressive body of work. Harnoncourt has moved steadily forward, however, in his survey of later composers and their works. His recording of Schubert's Mass in N bears his very personal stamp. The brief unac­ companied "eleison" shows the Arnold Schoenberg Choir to maximum advan­ tage. The key change into the Gloria comes as a harbinger of the harmonic labryinth Schubert proceeds to create. Un­ fortunately, the chorus sopranos lose sup­ port and begin sounding tired, and the chorus lacks the requisite rhythmic inci­ siveness to make measures 287 through 303 as exciting as they could be. One has Packages start as low as $3.00 per CD. Packages inclljdE3 digitally a sense that Harnoncourt has developed a pre-mastered CDs of your group, CD cases, graphic design, full "sound" and a rubric that he applies to color covers and traycards, assembly gncf po\Y:wraJ'}".-We'{ . everything. One hears the painstaking, . can work from OATs, CDs: rec~Jrds, r!d~p~fca~ttes. ":\~ / almost precious, tapered phrasing recalled Give us a call to see how easily your pr.~ect ealJ: get UJlderw~r=::, from his old recordings of the Bach suites 1\\ ~ t." a and the sensitive matching between or­ chestra, soloists, and choir. But can this rhetoric be applied to Schubert (or Beethoven or Brahms) with the same au­ thority or even reasonableness? Surely, per­ formance practice has proceeded beyond this one type of playing, elegant as it is. James Hejduk University ofNebraska-Lincoln Lincoln, Nebraska -C]-

PH: 1-540·899-3981 FAX: 1-540-373-3902 4521 Vicky LN Fredericksburg, VA 22408 email: [email protected]

MAY 1998 PAGE 79 Mnsic Festiva1sE;t Tonrs; Inc~ 1999 Dates and Destinations More Opportunities. Sept. 18.20, 1998 April 8·11. 1999 April 29.May 2, cont. Orlando All Star Music FestiVIl.I at Cape Cod, MA ~ Barcelona, Spain )( Washington D.C. Every Weekend- March, April & May ~ Paris, France )( New York City, NY Disney Magic MUSic Days • ~ Oct. 2·4, 1998 ~ Sydney, Australia )( St. Louis, MO Every Weekend Year Round V Branson, MO K San Francisco, CA )( Boston, MA CrUise Festivals • ~ Oct. 16·19, 1998 )( San Diego, CA May 6·9, 1999 Take a Performance Cruise V Las Vegas, NY )( Atlanta, GA )( Minneapolis, MN to the Bahamas, or to Mexico. April 15·}8, 1999 Heidelberg, Germany • ~ Feb. 13.20, 1999 ~ Performance Showcases ~ Florence, Italy K Myrtle Beach, SC V Caribbean Cruise for Adult/Community Music Groups ~ Nottingham, England )( New York City, NY A new program for Gateway, beginning in the March 1l·14, 1999 )( San Antonio, TX )( Virginia Beach, VA Fall of 1998. (See schedule-magenta dots) at~ Dublin, Ireland )( Williamsburg, VA ~ Toronto, Canada Extended touring also available. )( Tucson, AZ )( Anaheim, CA )( New York City, NY June 18·20, 1999 Custom Perforinance Tours March 18·21, 1999 )( St. Louis, MO at~ Salzburg, Austria Domestic or International, we will help you plan at)( San Diego, CA at~ Nottingham, England a performing tour that suits your needs. )( San Antonio, TX April 22.25, 1999 at~ Interlaken, Switzerland June 23.25, 1999 Branson On Stage Live • Available year round March 23.29, 1999 )( Chicago, IL at ~ Florence, Italy at)( Honolulu, HI at)( New York, NY June 25.27 1999 March 25·28, 1999 )( Williamsburg, VA ~ Seefeld Au~tria )( Atlanta, GA )( Memphis, TN ' )( New Orleans, LA June 26.July 10, 1999 April 29.May 2, 1999 ~ Bourl!emouth, England April 6.12, 1999 at~ Innsbruck, Austria )( Honolulu, HI at~ Acapulco, Mexico )( DomestiC Festival Sites )( Chicago, IL ~ International Festival Sites )( San Francisco, CA at Perlbrmance Showcases Note: All dates &- destinations are tentative and suldect to change.

.~ eSfl...... " ...'...... ;."'..... }{/____ ~ Choral Music Fes~tr~L_ .... _____ CJ ~Gateway has been seleaea·by.th!!_~t. Patrick's Fest!.y'al.Gofiiii1itt~e to establish and manage .~,L...... a Choral Music Festival for the 1999 St."Patrick~s .. FeSiival in Dublin, Ireland. The Festival will take CategorIeS: place on Saturday. March 13th. There ar~. eve;;t;;~1anne~ for participating groups tllroughout the Mixed Chorus / Show Choir weekend. We are very excited abol!Hhis Festival and lookfofl..rard to managing the St. Patrick's Men's Choir International Choral Music F~~ti-i~i for many years to com "'-~ Church Choir 1·4 Night Packages are Av~i1able . Extended tonringpacka9. are also;ayailable Barbershop // Dublin. Ireland .'. __ Chamber/Madrigal Inclusions: Transp~rfation, Hotel, Meals, Sigh~~' ional Perform~~fs'':~';' Jazz Choir at Venues in an9,laround Dublin, Ireland. r Women's Choir Gospel Choir ~ Pleaseyafl us for further information on the St}'atrick's International Choral Music Festival. BOOK REVIEWS Stephen Town, editor

Curtis Price, editor are concise and highly focused, to the Purcell Studies point of describing each page of particu­ BOOK PUBLISHERS Cambridge University Press, 1995. lar Purcell manuscripts. THIS ISSUE 305 pp.$64.95 (hardcover). ISBN: Price reports on a recently discovered 0-521-44174-9 autograph manuscript of Purcell's key­ Cambridge University Press board music, "New Light on Purcell's Key­ 40 West Twentieth Street New York, NY lOon HE PUBLISHER issued this vol­ board Music." Peter Holman discusses ume of commissioned essays in another newly found manuscript in Clarendon Press T 1995 to celebrate the tercente­ "Purcell and Roseingrave: A New Auto­ A division of Oxford University Press nary of Purcell's death. Thirteen writers graph." The autograph found at Christ 198'MadisonAvenue ' contributed essays which, as the editor Church, Oxford, is a copy in Purcell's New York,NY 10016 " notes in the preface, are "intended as a hand of Daniel Roseingrave's anthem St. Bonaventur~ Publications sequel and complement to Henry Purcell Lord, Thou Art Become Gracious. The dis­ 324 Central Avenue, Suite 105 (1659-1695): Essays on his Music, edited covery of a small composition by a minor Gl,'eat Falls, MT 59401 by the late Imogen Holst." Price had con­ composer seems to have little significance cluded that the most urgent areas requir­ for modern performers. Holman writes: ing research on Purcell were a "The anthem is interesting and unusual, English Court Ode" by Martin Adams, . . . but it is short-winded and rather 'and "Purcell's Odes: Propaganda and forensic study of the early aimless in places" (p. 104). Panegyric" by Ian Spink fill some of the manuscripts, ... a comprehensive "Only Purcell E're Shall Equal Blow," research blanks noted by Price in his pref­ study of Purcell's compositional by Bruce Wood, "Purcell, Blow and the ace. The chapters are tightly woven, well technique . . . musical education and early development, the relationship with his teacher and friend John Blow, ... an MULTI-CULTURAL assessment of Purcell's early court AFRICAN odes, ... [and a] major study of OLD TANTE FIENA SNUIFBEK, Stuart Mcintosh lWO SOUTH AFRICAN CEREMONIAL SONGS, Purcell's music in light of recent Lawrence Kaptein/Caroline Lyon developments in reception history AFRICAN-AMERICAN (pp. xi-xii). I BELIEVE THIS IS JESUS, Robert L. Morris SOMETIMES I FEEL LIKE A MOTHERLESS CHILD, Wm. Boland Purcell Studies addresses not only each of SWING LOW, SWEET CHARIOT Moses Hogan these issues with thorough and detailed THERE'S A MAN GOIN' ROUND, Moses Hogan scholarship, but the text also includes re­ BRAZILIAN ports on two recently discovered auto­ NA BAHIA TEM, Daniel Afonso graph manuscripts. CHINESE Price masterfully orders the essays so JASMINE FLOWER, jing Ling Tam that each seems to build on information CUBAN from the preceding chapter. Musical SON DE LA LOMA, jose Luis Castillo examples, photographs, and manuscript IRISH facsimiles also are included. Price's Intro­ FARE THEE WELL, ENNISKILLEN (ssa), john McDowell duction, "In Search of Purcell's Charac­ JAMAICAN ter," explores aspects of the composer's WATA KOM A MI EYE, Paul Tucker personality and offers performance prac­ MEXICAN tice suggestions. Minutiae abounds for DUERME, Ram6n Noble LA CANA VERDE, Ram6n Noble Purcell devotees in the chapters on Purcell's autographs and library. ("Purcell's SAMOAN FALEULA E!, Christopher Marshall GreatAutographs" by Robert Thompson, LA'U LUPE, Christopher Marshall "Purcell as Collector of Mcient' Music: Fitzwilliam MS 88" by Robert Shay, and ALLIANCE MUSIC PUBLICATIONS, INC. "Purcell's Revision of His Own Works" (713)868-9980 FAX (713)802-2988 by Rebecca Herissone). These chapters p.o. Box 131977. Houston, Texas 77219-1977

MAY 1998 PAGE 81 written. and full of new information. A. concludes with two chapters by Ellen T. HE MOST important stylistic in­ Mararet Laurie's "Continuity and Tempo Harris addressing King Arthur and an novations of the early Baroque in Purcell's Vocal Works" and Katherine Afterword by Janet Snowman about the T period (c. 1600-1650) took place Rohrer's "Poetic Metre, Musical Metre and watercolor portrait of Purcell reproduced in Italy and northern Germany. Austria the Dance in Purcell's Songs" contain ex­ on the frontispiece of the book. remained out of the mainstream of musi­ haustive details about performance prac­ Price's edition of Purcell Studies is an cal developments until the rise of the eigh­ tice and interpretation. Purcell Studies excellent new resource. Though none of teenth-century Viennese School which, the essays is a definitive study, each may along with the Mannheim School, shared serve as a guide for further research. A in the development of the new classical brief, two-line professional identification style. One notable exception is docu­ Songs of Inscape for each contributor would have been use­ mented in Steven Saunders's Cross, Sword, 5 poems by Gerard Manley Hopkins ful, but apart from this the book is a and Lyre, a book based on the author's set for mixed choir and piano by superior work and should be part of any doctoral dissertation done at the Univer­ Purcell scholar's resource material. sity of Pittsburgh. It begins with a discus­ Wilbur Skeels Bonnie Borshay Sneed sion of cultural life in the court of "A beautiful enhancement of texts already filled with rhythm, melody and entrancing University ofAlabama-Huntsville Habsburg Emperor, Ferdinand II, who sound." Catalog Nos. CQ9701-5. Huntsville, Alabama reigned from 1619 to 1637. The ruler ({antu5 (/fluercu5 ~re55 traveled to St. Mark's Cathedral in the 1275 Hendrix Ave., Thousand Oaks, CA 91360 late 1590s, where he became familiar with http://pages.prodigy.com!WWA66A/catalog.htm Fax 805-497-0400. Catalog & excerpts on-line. Steven Saunders the Venetian style. Much of the book Other titles for SA TB choir by Wilbur Skeels Cross, Sword, and Lyre: Sacred Music at focuses on the work of his chief compos­ CQ9707 - There is a love the Imperial Court of Ferdinand II of ers, Giovanni Valentini and Giovanni CQ961 I - Do not stand at my b~'ave and weep Habsburg (1619-1637) Priuli, whose output includes masses and CQ9607 - Ubi caritas CQ9608 - Gatt ist die Liebe Oxford: Clarendon Press, 1995. 358 pp. vespers as well as works for Corpus Christi CQ9609 - Love will come back to YOll $69.95. ISBN: 0-19-816312-6 processions, Lenten devotions, and Holy (hardcover) Week. According to Saunders, Ferdinand II's "huge Kapelle was virtually without rival in early seventeenth-century Europe" (p. IS). Judging from the more enterpris­ ing polychoral works produced at his Practice. Go. PerlOTIll. court, including some parodies on masses by Giovanni Gabrieli, a huge contingent of singers and players served the emperor. Leave the details to us. At the same time his court composers were successful in counterbalancing their monumental efforts with more intimate motets and were capable of incorporating A great concert requires the antico with the newer concertato sycle hours of planning and preparation. So does a within movements. great concert tour. Our B~f~~ The book's appendixes include a list tours let you concen­ Tour Consultants of sacred compositions by Valentini and trate on what you do Priuli, as well as an anthology containing best-making music. We several works. Unfortunately, no polychoral OFFICE LOCATIONS: handle the rest, from pieces appear in the anthology, although securing performance San Francisco - New York Seattle - London- Prague brief excerpts are presented within the opportunities to arrang­ Venice- Paris eSt Petersbu text of the book. Cross, Sword, and Lyre ing sightseeing and cul­ Berlin - Moscow - Can tural experiences that documents a vibrant and little-known as­ will enrich your experi­ ACFEA Tour Consultants pect of Austrian musical life during the 1567 Fourth Street ence. If you're thinking San Rafael, California early seventeenth century. of touring call ACFEA. Lewis W Gordon FAX (415) 453-6725 And find out why so Saint Joseph's University many of our clients call E-MAIL Philadelphia, Pennsylvania us for an encore. [email protected] 1-800-886-2055

PAGE 82 CHORAL JOURNAL Liber Usualis of the liturgical day. For this reason the in some cases the pitch) of the chant melo­ Great Falls, Montana: St. Bonaventure Liber usualis. . . was published." 2 dies it contains. This method is easily Publications, 1997.2036 pp. $107. While representative of the mass and recognized by such notation devices as office repertories, the contents of the Liber, ictus and tenuto signs (vertical and hori­ LMOST IN TIME for the cen­ as Apel duly notes, do not embrace the zontal episemas) and dotted neumes. This tennial anniversary of the whole. Moreover, the book promulgates­ rhythmic theory belongs principally to ASolesmes general-use collection in the manner of a heavily edited perfor­ Dom Andre Mocquereau (1849-1930), first published in 1896, the enterprising mance edition-the so-called "Solesmes the last of the triumvirate of abbots of de Montana-based St. Bonaventure press has method" of interpreting the rhythms (and Solesmes who oversaw the restoration of made available a reprint of the 1952 En­ glish-rubrics edition of the Liber usualis. The once ubiquitous vade mecum has long been out of print. For liturgical purposes, it has been superseded by the post-con­ Master of Music ciliar Latin service books. While the reap­ pearance of the Libel' may delight in Music Education frustrated rummagers of used and rare­ book bins, its "introductory price" of$107 with Kodaly Emphasis seems a bit steep for what is essentially a dated anthology of Tridentine rites and Holy Names College, located in the San Francisco Bay Area, offers turn-of-the-century chant performance this unique graduate program. The curriculum includes solfege, con­ practice. Reprinting the 1952 edition, ducting, pedagogy, observations, student teaching, and folk music. with its translated introduction and The degree may be completed in one year. Classes begin with the Proa:mium ("Rules for Interpretation"), HNC Kodaly Summer Institute, July 6-24, 1998. Study excluded the liturgical and calendar re­ in other OAKE-endorsed summer courses may be transferrable. forms incorporated into the last edition • $6,000 Kodaly Fellowships are available for 1998-99. of 1958. Although those changes are of • Application deadline: May 1, 1998 historical interest, their omission is ulti­ mately negligible, since the reforms were HOLY NAMES COllEGE soon to be swept away in the sea-change Anne Laskey, Director of Kodaly Program ushered in by Vatican II. 3500 Mountain Boulevard, Oakland, California 94619 During the sixteen-year interval be­ Phone: 510/436-1234 Fax: 510/436-1438 fore the publication-once again by Solesmes-of the fundamentally reorga­ nized Graduale Romanum of 1974, the brisk trade in used copies of the Liber hastily discarded by parishes, convents, Crer(itzng Artistry and monasteries eager to leap aboard the Choral Conductors bandwagon of vernacularization proved a dealer's godsend. It was also during that Worksh8p interval that, by delicious irony, the rep­ ertory of Western sacred monody, appar­ June 14~20,,1998 ently demoted from its liturgical primacy ,. Established in a nurturing environment, in the Roman Church, became a legiti­ Creating Artistry offers an opportunity for mate object of study and research in secu­ conductors to further develop conducting skills. lar institutions of higher learning. I Through individual and masterclass teaching, American research on chant received conductors study Conducting Gesture, Vocal Techniques, Rehearsal Efficiency, Pacing, Score major impetus from Willi Apel's Gregorian Analysis, Repertoire, Choral Administration Chant, first published by Indiana Univer­ and Multi-cultural Interpretation. Laboratory sity Press in 1958. In his discussion of the choruses provide the opportunity for students to liturgical books then in use, Apel opines explore actively the conducting process. that the distribution of mass and canoni­ For further information contact: cal office materials among four collec­ Ginger Markham Indianapolis Children's Choir tions-the Missal Gradual Antiphonal 4600 Sunset Avenue and Breviary-"[made] it difficult to gain Indianapolis, IN 46208 a clear insight into the over-all structure (317) 940-9640 FAX (3 I 7) 940-6 I 29

MAY 1998 PAGE 83 Gregorian chant during the last quarter realize his desire to revive the chant as the recording that has made Gregorian chant of the nineteenth century and the first principal song of the Church. The Vatican a world-market item is yet another exem­ decade of the twentieth. Given the sorry Edition of the Graduale in 1908 was de­ plar of the method, minus the Gallic en­ state to which chant editions had fallen rived directly from the Solesmes Graduale thusiasm of its stylistic source. by the eighteenth century, this was an edition of 1895. Also in 1908, Solesmes The revival of the Liber usualis is bound ambitious enterprise, entailing a meticu­ published an edition of the Graduale in to reinforce the erroneous notion that lous search and evaluation of the surviv­ which Dom Mocquereau's theory of those who want their liturgies in Latin ing manuscript sources. It was this labor equal-value puncta performed in ictus­ must return to the practice-and spirit­ of monastic love that enabled Pius X to driven phrases was first codified. of the era before Vatican II. This is deeply Dom Mocquereau had first set forth unfortunate in light of the trashy ver­ his rhythmic theory publicly at a Vatican nacular music that has inundated both congress on Gregorian chant convened parish and cloister over the past thirty­ CONSORT by Pius X in 1904. Whatever the politics odd years. Given the level of sheer din, underlying the papal granting of a virtual few have heard-few would have sus­ PRESS monopoly to Solesmes over the publica­ pected-the official sentiment of the Ro­ proudly publishes tion of service books and the official sanc­ man Church: "The Second Vatican tion of the "Solesmes method" of Dom Council has expressly declared, in articles the music of Mocquereau, it would be surly to be­ 114 and 117 of the Constitution on Sa­ JOHN BIGGSn I grudge that community the gratitude they cred Liturgy, that the treasure of Gregorian have labored to merit almost continu­ chant, which tradition has passed on even Composer of ously since the refounding of Solesmes in to our own age, is devoutly to be pre­ AUCTION CRIES 1833. served and fittingly to be employed."5 TRAIN Indeed, the ground-breaking Graduale While the Liber Usualis has proved its PAUL REVERE'S RIDE Triplex (Solesmes 1979), a reissuing of usefulness in the past, the student of chant the 1974 edition extraordinarily enhanced would be well advised to seek instead the AMERICAN FOLK SONG by its addition ofLaon and St. Gall nota­ fruits of current scholarship. SUITE tion from the earliest complete manu­ D. Martin Jenni CANTICLE OF LIFE script sources, has increased our debt to University ofIowa JAPANESE FABLES the Abbey of St.-Pierre. We are also grate­ Iowa City, Iowa CALIFORNIA ful for the interpretive studies of that MISSION MUSIC rhythmically subtle notation by Dom NOTES 3 and many more. Eugene Cardine, a monk of Solesmes. I The current state of research into the history Regrettably, the maxim of the prophet in and development of Latin sacred monody For a catalog, write or phone: his own village has proved true once again is documented in Plainsong & Medieval at St.-Pierre, where none of the conse­ Music, published twice yearly by the U4NUJ4t~ quences of Cardine's discoveries have in­ Cambridge Universiry Press. 1755 Monita Drive fluenced the practice of the "Solesmes 2 Willi Ape!, Gregorian Chant (Bloomington: Ventura, CA 93001 method"-at least as evidenced in chant Indiana University Press, 1958), 15. 800/995-7333 recordings emanating from that commu­ 3 See particularly his Gregorian Semiology, first nity.4 The chart-sweeping Silos Abbey published (1970) in Etudes Gregoriennes, Tome XI, and available in Robert M. Fowels's English translation of 1982. • OPEN TO SINGERS FROM US AND CANADA 4 See the author's review of the recent • $5,000 IN PRIZE MONEY recording of the Tenebrtf. ("Chant, Plain • DISTINGUISHED INTERNATIONAL JURY and Othetwise") in the September 1996 • COMPETITION INFORMATION & issue of the ChoralJournal. ApPLICATION FORM AVAILABLE MAY I, 1998 5 Thesaurum cantus gregoriani, quem traditio Direct inquiries to Vernon Sell. Ph.D. usque ad nostram tf.tatem trammisit, sancte Edgewood College. 855 Woodrow St. esse servandum et opportune adhibendum Madison. WI. 53711. 608-294-2259 Concilium Vaticanum 11 in Constitutione e-mail: [email protected] de sacra Liturgia (nn. 114 et 117) expresse SPONSORED BY: declaravit, cited in the "Decree of Edgewood College. Madison. WI "H!9.!II Approval," Graduale Triplex, p. 5 Kilpinen Society. Helsinki. Finland National Assn. ofTeachers of Singing: North-Central Region (translation by the author). National Assn. of Teachers of Singing: Wisconsin Chapter In association with Sibelius Academy of Music and -C]- Finnish Music Information Centre, Helsinki, Finland

PAGE 84 CHORAL JOURNAL CHORAL REVIEWS Corydon]. Carlson, editor

Editor's Note: In this issue we review works for unison voices in various PUBLISHERS THIS ISSUE styles. Alfred Publishing Company, ECS Publishing Oxford University Press, Inc. Inc. 138 Ipswich Street 198 Madison Avenue Post Office Box 10003 Boston, MA 02215 New York, NY 10016 AdonaiRo-i Van Nuys, CA 91410 Encore Publications Paraclete Press Gerald Cohen Alliance Music Publications 22 Tonbridge Road P.O. Box 1568 Unison, piano P.O. Box 131977 Hildenborough, Kent TN11 Orleans, MA 02653 New Jewish Music Press, 991440, $1 Houston, TIC 77219 9BS England Sacred Music Press AMSI Lorenz Corporation, agent This lyric setting of Psalm 23 by Art Masters Studios, Inc. G.LA. Publications 501 East Third Street Gerald Cohen is simple, yet beautifully 1599 8th Street, SE 7404 South Mason Avenue Dayton,OH45401 Minneapolis, MN 55414 Chicago, IL 60638 constructed. The haunting Dorian Selah Publishing Company melody extends from d I to f2 with a Augsburg Fortress Publishers, Hildegard Publishing Company P.O. Box 3037' ' l 2 P.O. Box 1209 P.O:Box 332 , Kingston, NY 12401 basic tessitura of d to d • The high notes Minneapolis, MN 55440 Bryn Mawr, PA19010 are approached easily by step making this StevenSong", , work extremely range-friendly for the Boosey & Hawkes Jackman Universe InttadaMusicGroup, agent' young chorus. Lasting three minutes, the 35 East 21st Street Theodore "Presser.Co~pany;, P.O. Bo:d240 ' New York, NY 10010 ",Anderson; IN 46015 piece is somewhat text intensive for a choir not well-versed in Hebrew; how­ BriLee Music Publishing Co. GordonV~ Thompson Music , - '. ._, OJ P . .o. Box 680985 ' 'Warner Brothers MuSic ever, the simple and effective pronuncia­ " Franklin, TN 37068 Neil A. Kjos Music Company Publications, agent ',' tion guide will be helpful. 4380 JuclandDrive 15800,NW Fcmy-eighthAvenue The keyboard accompaniment is in­ Choristers Guild S~n Diego,CA92J)7' Miami, FL 33014 '. . tended for the piano with sustaining Lorenz C~rporation" ~ent ' p~O. Box 802 Logia " '" ' , Triune Music, :, pedal markings and rolled chords indi­ Dayton,OH45401 , Concordia', Publishing House; Lor~nz Corp~~tion, agent cated. It is relatively easy to play and agent :- ' ,'. ",: P;O,Bm{ 802 , ' adds textural color as the accompani­ ConcordiaPuhlishing House. 3558 South JefferscmAvenue , ,DaY:ton;OH4540L 3558 South Jefferson,Avenue ' ", St. Louis,MO 63118 ment figures progress from simple chords : St.Lciliis;MO 63118 ' ! Newjewish'Musi<; Press to running-eighth-note patterns to I ' harplike flourishes at the powerful i Roger Dean Publishing 83~FifthAven~e i,' ,,:., ' i'Company . New:YorJ-, NY J0021,'" cadential points. The inclusion of the !.LorenzCorp9t:atioIl;agent : Hebrew text written in its original char­ i. p.o: BoXB02..: .' acters on the back cover is a nice touch. iDilyt(lIl"OH45,401, Adonai Ro-i is an excellent choice for use i>I:···· with a synagogue, church, or school youth choir wishing to practice sustained, legato singing. Michael E. Yachanin I VOCAL RANGES

Ballerine du vent John E. Govedas Unison, piano Gordon V. Thompson (Warner Bros., grade student, compares a tree to a balle­ no English translation or pronunciation agent), VG-1022, $1.75 rina, so beautiful in its tutu in autumn. guide. The range and tessitura are quite The ~ meter gives a whimsical feeling to accessible for a children's choir, but the Ballerine du vent was commissioned the text, and the non-traditional melody non-traditional melody with many by one of the Toronto public schools that moves from a whole-tone scale to a accidentals will require an ensemble with junior choirs to be sung in a Canadian traditional scale gives the sense of a dance more expenence. festival. The text, written by a second- being created. The text is in French with Carolee R. Curtright

MAY 1998 PAGE 85 Cantique de Jean Racine work would be a wonderful addition to Unison, keyboard Alan Rido~t the repertoire of any women's chorus or GIA, G-4071, 90¢ Unison treble, organ advanced children's choir. The work pro­ Encore Publications, £1.30 vides harmonic interest, lyric legato lines, Nylea Buder-Moore has written both dynamic contrasts, and opportunities for text and music for this Easter piece in an The tide of this stunning and beauti­ colorful organ registrations. Ridout pro­ easy vocal style. The refrain is a straight­ ful piece will bring the name of Gabriel vides a fine singing translation for choirs forward presentation of the text "Christ Faure to mind, but this text is different wishing to sing in English. The work also has risen, let us be joyful," while the from the one set by Faure. Scored for is available with string accompaniment, stanzas employ mixed meter (l and ~) treble voices and organ, this lush romantic parts for which can be obtained from the and relate the angel's message to Mary publisher on rental. and Martha on Easter morning. This ·YOOlHamJSaNlOCIOR- ~antMorton piece has a multitude of possibilities­ The Levine School of Music. a prestigious community music choir sings the entire piece; choir sings school in Washington. D.C.. seeks a youth chorus conductor for grades 3-8. Rehearsals are Wednesday afternoons; the refrain and soloists sing the stanzas; performances are in the Washington community. Length of or congregation sings the refrain while position is one year. Interested individuals should call Christ Has Risen cantor sings the stanzas. The creative di­ 2021686-9772. ext. 275. Nylea L. Butler-Moore rector could add Orffinstruments or bells to this effective piece. Steven R. Gibson Choral Music for Rent Reasonable Rates ~f Clair de lune 0 0ailY Gabriel Faure Most standard and many "off-beat" titles Unison, piano from Baroque to Vaughan Williams. Kjos, ED.6251, $1.10 Symphonic choral music a specialty. Most in quantities of 150 or more. This edition of Faure's well-known art song has been prepared by Nancy Telfer Low cost. for unison chorus. She includes commen­ Catalog with prices available. tary about the composer, the social and cultural climate of the times, musical Phone: (212) 247-3878 Fax: (201) 948-4878 traits of impressionism, and Paul Verlaine's text (with a singing translation by Telfer). The edition also contains a phonetic pronunciation guide and sug­ gestions for mood-setting prior to performance. Rehearsal tips for the con­ Ren~usenCHOR:AiCHOOl ductor highlighting the role of the piano, vocal technique, and expressive qualities are also provided. The vocal range of this Improve your abilities as a conductor and choral educator! piece (in Faure's original C minor) fills Join us July 25-30 at Concordia College. Moorhead. Minnesota and learn first-hand from one the octave from gl to t, suggesting a of America's most sought-after conductors and composers. somewhat mature soprano choir might most enjoy the work. Demanding careful Focus on Elements of Choral Ensemble Focus On Conducting and Rehearsal Techniques breath management skills and a delicate Warm-up activities, materials and philosophies Are you hearing your choir? Developing hearing Development of Choral Tone accuracy and refined pitch discrimination lightness of vocal tone, this piece will be Vowels & Consonants -a vocal approach Conducting Technique; pattern efficiency, gestural Blend through pitch and vowel integrity; elarity; relationsliip of pesture to vocaftone most rewarding. Sophisticated pianists vocal color typologies; seating; and balance Student conductors in 15 segments will also enjoy its challenges. Rhythmic precision; attack & release; sensitizing Evaluation and suggestions for growth of the inner pulse individual conductors John Buehler Vocal approach to dynamic shaping Insights into style, interpretation, and rehearsal technique through elloral rehearsal with Rene Focus on Performance Practice Issues Clausen. Choral sell00l members will form Study of issues related to performance practice the chorus. in the music of all compositional styles. Choosing editions, developing an accurate Score Study & Analysis , basis of interpretation, and making perfor­ Sight-reading new materials for all ability Declare God's Glory mance decisions. levels, elementary-college Michael W. Patch Call toll-free 1-888-Rene-Clausen (1-888-736-3252) today for registration information Unison/two-part, keyboard RR 3 Box 183A, Hawley, MN 56549 * [email protected] * www.means.netJ-c1ausen

PAGE 86 CHORAL JOURNAL Choristers Guild (Lorenz, agent), Lydian mode. Contrast is effectively an easy obbligato part for early in the CGA716, $1.10 achieved in the brief middle section in year. B~. The "mors stupebit et natura" text is Michael E. Yachanin Michael W Patch has written an ex­ presented dramatically in the upper vocal cellent piece for unison/two-part voices. range before the opening material returns, The second part, while optional, is quite and the piece concludes with a brief two­ lovely. The refrain, adapted from the Book part coda, which is repeated three times. GoForth o/Psalms, is well written and conveys the Range is a comfortable d l to f2 during Dawn Rathmann exuberance of the text. The stanzas pro­ the unison portion of the work and d l to Unison, keyboard, optional guitar vide a contrast in mood and key. This al for the optional second part. While Logia (Concordia, agent), 98-3332, piece would work well with a middle this piece is appropriate for worship use, $1.25 school choir and could serve as an an­ it also would be effective for elementary them in a church service. or middle school, particularly for a choir The text to Dawn Rathmann's praise Steven R. Gibson seeking an attractive unison work with anthem Go Forth, emphasizes the poet's

Domine dilexi Classic Music Philip Lawson Furniture Unison, keyboard Our new catalog is filled A repository of historical material related Roger Dean (Lorenz, agent), 10/1568R, with graceful, functional to the 70-year career of hardwood furnishings $1.40 designed to add to the Fred Waring and the joy of music. There are hard­ Pennsylvanians wood music stands that expand Originally conceived as a unison set­ to serve a duet, trio or quartet, Materials available to researchers and music educators ting of Psalm 26 and later arranged for sheet music cabinets that stack to hold a growing collection, and Fred Waring's America SATB, Domine dilexi employs semi-choruses much more. The Pennsylvania State University Special Services Building for two of the seven brief phrases within 1127 Fox Hill Road the forty-eight bars. The vocal range is University Park, PA 16803-1824 1-800-324-5200 (814) 863-2911 FAX (814) 863-2574 moderate and though the meter shifts or 650-324-5000 between duple and triple, this will cause [email protected] VISIT OUR WEBSITE! http://www.libraries.psu.eduJ few problems at the slow tempo. Interest­ crsweb/speccollwaring.htm ing harmonies accompany the voice line. This piece will be best used during a worship service by mature choirs. The sler Dr Menlo Park. CA 94025 SATB version also is included in this octavo. John Buehler

Gloria! John Armstrong Unison, optional descant, keyboard BriLee, BL11 0, $1.25

JohnArmstrong's Gloria!features con­ temporary harmonies and rhythms with­ out being overtly predictable or popular in style for choral "purists." Its text, a mixture of Latin and English by Virginia Altman, sends an affirming message: in the face of death or defeat, one strives to find the beauty and meaning in all oflife. The accompaniment, with its arpeggiated figure reminiscent of Bach's C-major Prelude, begins in the piano's upper register and supports the sustained opening, "Libera me, Domine," in D

MAY 1998 PAGE 87 desire to proclaim God's love to all. Remi­ Gracious Father, Come and Hear Us Pray Lord Keep Us Steadfast in Your Word niscent of many other popular-style uni­ Ralph C. Schultz David Hogan son songs for youth, this would be an Unison, piano, oboe Unison, keyboard ideal piece for most elementary church Concordia, 98-3334, $1.20 ECS, 4902, $1.10 choirs. The simple, syncopated accom­ paniment would be a fUn assignment for This anthem is designed for the bap­ David Hogan has composed a very an aspiring young pianist. The addition tism of an infant or child. Its melody is beautifUl, fresh setting of Martin Luther's l 2 of guitar would enhance the youthfUl na­ conservative, ranging from d to d , and Reformation text, Lord Keep Us Steadfast ture of the song. is folklike in quality. The piece may be in Your Word. This text is usually associ­ Kevin Kellim performed by unison voices or a soloist, ated with the traditional and symmetri­ with optional congregation joining on cal hymn tune Erhalt uns, Herr. Hogan the last of four verses. An obbligato oboe has written an asymmetrical tune com- part adds much to the quality of the petel WIt'h meter ch anges among 34564' 4' 4' 4' song. The text is a prayer asking the Trin­ ~, and ~. The piece has three verses and ity to bless "this child who joins (God's) calls for men's voices on verse two. It PRAISE family." includes a soprano descant on the final Kevin Kellim verse. The well-written work is not diffi­ cult to sing or conduct. It would make a HYMN! fine anthem for a modest church choir on Reformation Sunday or any Sunday I Am the Resurrection and the Life emphasizing "the Word." Melvin Rotermund wyant Morton Thine the Prai8e Unison, organ, optional C instrument The Hyrnntunes and Carols Concordia, 98-3271, $1.10 of Carl Schalk This motet and hymn setting will find Magnificat and Nunc dimittis A comprehensive collection, Thine the meaningfUl use within the Christian wor­ (((Washington'') ship service, amplifying the Gospel text David Hogan Praise contains the 79 hymntunes of of John 11:25-26 in the Revised Stan­ Unison, organ Carl Schalk written to date, including 16 dard Version. The twenty-seven-measure ECS, 4640, $1.80 composed since 1991 and all the tunes motet is followed by an eighteen-bar previously published in The Carl Schalk hymn setting of the thirteenth-century With its joyfUl rhythmic drive and Hymnary, and Supplement. These stur­ French tune Orientis partibus, with texts interesting harmonic turns, David dy, well-crafted tunes are paired with the for use either at Easter or for a fUneral. Hogan's unison setting of Magnificat and texts of several writers including Jaroslav The range of this piece spans dl to e2 Nunc dimittis is a fine addition to the Vajda, Herbert Brokering, and others. (with a descant rising to an optional g2), church anthem literature. The Magnificat and the rhythmic flow, though set to is a lively three-minute rendition in En­ G-4554 (Spiral bound) ...... $18.95 changing meters, is gentle and simple. glish. Its most compelling feature is an Adult or youth church choirs will find organ ritornello that bounces from ~ to ~ GIA Puhlications. Inc. this a meaningfUl addition to their ser- to ~ and back to ~ each time it recurs. The 7404 S. Mason Ave .. Chicago.IL 60638 vice repertoire. vocal barring in this section also changes 1·800·GIA·1358 or (708) 496·3800 John Buehler constantly to reflect the agogic stress of the text. Support for the choral forces is carefUlly hidden in the top voice of the accompaniment, making this an easy an­ them to learn and perform successfully. The Nunc dimittis begins with a more Tour With Your Choir sustained texture and lasts roughly two and perform in the Great Cathedrals and Historic Churches. and one-half minutes. There is one brief two-part cadence in this otherwise uni­ • • Great Britain • Europe son texture. Starting at the text "Glory be • USA I Canada • Australia, New Zealand &: Fiji to the Father," the organ reestablishes its Travel with the professionals who have been Magnificat ritornello to give the entire coordinating concert tours for 30 years. composition a cyclical form. Young voices AMBASSADOR TOURS 1 148 E. Michigan Avenue / Kalamazoo, MI 49007 will appreciate the conservative d to f2 TEL: 1-800-830-4448 FAX: 616/349-7674 vocal range. Appropriate for Advent or «t» http://www.ambassador-tours.com Vespers, this well-crafted, rhythmically

PAGE 88 CHORAL JOURNAL challenging anthem is sure to sustain in­ Now Thank We All Our God for many performance situations. The terest in rehearsal and add zest to any Hal Hopson (arr.) complete cycle is available on rental from worship service. Unison or SATB, organ, optional trumpet Boosey & Hawkes. Michael E. Yachanin and handbells Donna S. Bloom Alfred, 11506, $1.25

Making Choices This is a fine choral arrangement by o mysterium ineffabile D. Geoffrey Bell Hal Hopson of a familiar hymn tune. Alan MacMillan Unison, keyboard, optional £lure The piece is a majestic praise anthem Unison treble, organ Alliance, AMPO 154, $1.20 that would be especially appropriate for Paraclete, PPM09534, $1.60 Thanksgiving, church dedications, Ref­ The composer has written and set a ormation Sunday, and Ascension or text that will be meaningful to young Christ the King Sunday. The anthem also ,-______people today, speaking of choosing friends may be performed with any combination wisely, working out problems, and mak­ of the following: solo trumpet, congrega- ing wise decisions. The piece encourages tional refrain (parts included in score), youngsters to "think before they act" and and handbells (available separately). Spe­ "look before they leap," as each verse cial instructions also are provided for per­ repeats, "you're making choices." The formance with unison voices. range and tessitura are easily accessible to The appeal of this piece lies in its the beginning children's or middle school simplicity and the various performing MUSIC choir, and the blues style that the com­ options. The writing is not demanding TOURS INC. poser uses would easily appeal to these for voices or instruments, yet it is inter- smgers. esting, with effective changes of meter Carolee R. Curtright and the use of altered harmonies during the instrumental passages. QUALITY Kevin Kellim INTERNATIONAL CONCERT TOURS Miriam's Song at Michael Barker Unison (optional two-part), keyboard, o Lord, Hear My Voice Today REASONABLE PRICES tambourine John Burge Choristers Guild (Lorenz, agent), CGA Unison treble, piano 740,95¢ Boosey & Hawkes, OCTB749, $1.10

Miriam's Song is a delightful piece Commissioned by the Glen Ellyn Call or write today based on Exodus 14:21-15:21. The piece Children's Chorus, this is one of eight for our unique begins with a festive refrain and contin­ movements from John Burge's large-scale ues for three stanzas. The stanzas relate work, Thank You God-A Children's personalized service! the story of the Exodus through the eyes Prayer Cycle. The text by Erin Jones was of Moses, Pharaoh, and Miriam. chosen by the composer from prayers Barker's keyboard accompaniment, written by members of the Glen Ellyn combined with tambourine, adds excite­ Children's Chorus. The vocal range-cJ.\,l ment to this joyous piece. The vocal line to cJ.\,2-is suitable for children's voices, MARK FOSTER makes excellent use of the stressed syl­ but the tessitura may be uncomfortably MUSIC TOURS lables of the text and suggests that a sa­ low for the trained children's choirs most cred dance might be in order. likely to select this work. A "somewhat '0' (800) 869-1406 Miriam's Song combines rhythmic vi­ improvisatory, but not too slow" intro­ P.O. Box 2760, Santa Clara tality, effective vocal writing, and numer­ duction "prepares the musical landscape California 95055-2760 ous performance possibilities into a for the entry of the voices" with a melody cohesive unit. The optional second part that is refreshingly simple. The accompa­ contains only two notes at the piece's niment, independent of the vocal line, end. Barker has written a well-crafted contributes to this meditative setting with piece that will be easy to learn and sing harmonies that will challenge the secu­ and will appeal to both children's choirs rity of the singers. As an expression of a • and middle school choirs. child's trust in God, this three and one­ Steven R. Gibson half minute anthem will be appropriate

MAY 1998 PAGE 89 Alan MacMillan has crafted a fine Composed for use in an Anglican ser­ Les Papillons musical work with a vocal line that is vice, these beautiful, lyrical pieces are Ernest Chausson primarily step-wise in its motion but with scored for two treble soloists and unison Unison, keyboard a few large leaps. The organ accompani­ treble choir. The modal melodies (Ionian) Kjos, ED.6249, $1.10 ment is comprised of whole-note chords are mostly stepwise, with momentary often accompanying a solo flute stop in shifts to other tonal centers. The soloists Ernest Chausson (1855-98) com­ counterpoint with the vocal line, remi­ perform most of the music in both pieces, posed this lovely miniature as one of his niscent of Herbert Howells's style. The with the choir used very sparingly. Only Sept Milodies, op. 2. While Les Papillons 1 2 span of the vocal range is from e to a , singers who can produce a pure tone qual­ (The butterflies) lasts just over a minute, and most phrases are four to six measutes ity should perform these pieces, and the it is full of opportunities for teaching in length, demanding good breath con­ soloists should be trained singers, whether musicianship. This Nancy Telfer edition trol at the tempo indication of j = 40. children or adults. In concert one may is geared primarily for children's voices. This work is well within reach of an in­ wish to utilize several soloists or more The original French text is accompanied termediate treble ensemble, either chil­ choral singing, and placement of the sing­ by a good singing translation. While the dren or women's voices. ers throughout the concert hall could pro­ piece is not technically difficult, its deli­ Craig Scott Symons vide some striking results. The text for cate impressionistic nature requires both On Another's Sorrow is from Songs ofIn­ the singers and the pianist to be experi­ nocence by William Blake, and the words enced, if not advanced. The octavo in­ On Another's Sorrow and to Jesu, By Thy Wounded Feet are by Eric cludes information about the composer, Jesu, by Thy Wounded Feet Milner-White from A Procession of Pas­ the text (including an IPA pronunciation Barry Ferguson sion Prayers. guide), historical context, and some re­ Unison treble Kevin Kellim hearsal tips. Encore Publications, £1.30 W1ant Morton

Open Your Ears, 0 Faithful People Robert A. Hobby (arr.) Pentecost Sequence Unison (optional descant), handbells, . Nicholas Palmer (arr.) 5TH B lEN N I A L flute, and percussion Unison or two-part mixed, handbells GOLDEN GATE Augsburg Fortress, 11-10752, $1.50 GIA, G-4062, $1.10 International Children's This octavo is new to the Gladsong The handbells strike chords twice in Choral Festival Series from Augsburg Fortress. The series each measure of this piece, while unison Robert Geary, Artistic Director includes contemporary music for choirs, mixed chorus, unison women's chorus, congregations, and instruments involv­ and unison men's chorus alternate in sing­ ing diverse musical styles and fresh, origi­ ing the ten verses of the "Ve>ni Sancte Spiri­ nal texts related to the church year. This tus text, in a beautiful English translation joyful unison setting uses a traditional by Peter Scagnelli. Vocal ranges are mod­ 2 and very singable Hasidic tune, brought erate (cl to d ), and the chantlike rhyth­ to life by the colorful timbres of the mic flow of the voice lines further handbells, flute, tambourine, and finger contributes to the majesty of this piece. cymbals. The work uses nine handbells Most appropriate for adult choirs, it will spanning just over an octave in range (d be effective in any worship setting and 1 June 21 - 26, 1999 to e ). The handbell and percussion parts will easily work as a processional. Warm hospitality in beautiful are printed in the body of the octavo, John Buehler Northern California. while a separate flute part is provided. Competitions in general, This dancelike setting is intended for an folk/ popular, and contemporary adult choir, as various phrases are speci­ music categories. fied for men and others for women. How­ Praise the Lord with Cheerful Noise Applications due Nov. 1, 1998. ever, the piece also would be accessible, George Frideric Handel Unison, keyboard 401-A Highland Avenue appropriate, and appealing to youth Piedmont CA 94611 choirs and older children's choirs. While Kjos, ED.6245, $1.10 Tel: (510) 547-7721 not difficult, the work has integrity and Fax: (510) 547-7449 would be a welcome addition to anywor­ In an edition by Victoria Meredith, e-mail: [email protected] ship service seeking a diverse and ethnic this soprano da capo aria from Handel's website: www.hooked.netl-singers flavor. oratorio Esther is exuberant and joyful, W1ant Morton propelled by running sixteenth-note

PAGE 90 CHORAL JOURNAL figuration in the accompaniment. The Symphonia armonie celestium revela- Unison, chamber ensemble or piano vocal line includes one sixteenth-note tionum, Volumes I and II Oxford, U167, $2 melisma that should be enjoyed by the Hildegard von Bingen young singers for whom this edition is Unison Each of these brief folk-song arrange­ intended. The range is from d 1 to [2, and Hildegard, published separately: ments-"I Know Where I'm Going," "0 the tessitura is on the high side. Meredith Volume I, 09701,$12.25 Can Ye Sew Cushions?," and "The Sprig provides suggested ornaments for the re­ Volume II, 09702, $26.25 of Thyme"-captures a Celtic flavor us­ 2 turn of the A section. Use this anthem of ing very limited vocal range (d I to e ). All praise to introduce the music of Handel A number of recent recordings have are marked by Rutter's graceful harmonic and the concept of vocal ornamentation popularized the music of twelfth-century and rhythmic sensitivity. Taken from the to young singers, and it should soon be­ mystic writer and composer Hildegard choral cycle The Sprig o/Thyme, the songs come one of their favorites. von Bingen, and these new editions will are published here with a simple pianistic Donna S. Bloom make her work more accessible to con­ accompaniment. A prefatory note sug­ ductors wishing to perform it. Taken from gests that a chamber ensemble (two vio­ the composer's monumental collection lins, viola, cello, bass, harp, oboe, and Symphonia armonie celestium revelationum flute) may be used (each piece uses a Rejoice, Rejoice, All People on Earth (Symphony of the harmony of heavenly different combination of instruments) Stephen Andrews revelations), volumes I and II are sub­ and that ensemble parts may be rented Unison/two-part (optional descant), titled "Chants for the Trinity: Father and from the publisher. These simple, expressive piano Son" (seven chants), and "Chants for the ,------­ Triune (Lorenz, agent), 10/1615K, $1.30 Blessed Virgin Mary: Mother and Son" (sixteen chants). The collections are ap­ This lovely Easter piece could be used propriate for all choirs. SOLID OAK by a variety of singers, from children to Hildegard composed both words and adults. The two-part sections are canons, music for all her chants, and the result is CHOIR CHAIR and the brief descant appears only twice. a stylistically unified collection featuring The resourceful conductor will utilize poetry that contains beautiful and often children with adults, children with striking imagery. Neumatic antiphons middle school and high school singers, and highly melismatic responsories pre­ or all of these combined. The descant dominate, and ranges are primarily within would be lovely reinforced by bells or an octave or a tenth, with some passages glockenspiel. dropping to the fourth below the final. Steven R. Gibson Transcribed into modern notation using black stemless notes, the chants are ar­ ranged cleanly on the page and are highly readable. The Latin text is placed be­ Supplication neath the notes, while a literal English Linda Spevacek translation appears in the prefatory ma­ Unison, keyboard terial. Informative editorial notes give Triune (Lorenz, agent), 10/162IT, $1.30 both background and performance in­ with: formation. FIBRE RUSH SEAT or This short piece should find its way While only volumes I and II are repre­ UPHOLSTERED SEAT onto the shelves of church choir libraries. sented here, Marianne Richert pfau has Supplication has an English text, written edited and translated the entire work, Pews·Chairs·Pew Refinishing'Cushions by the composer, and flowing lyrical lines. which is available in eight volumes or as Spevacek has composed a piece that will individual chants. This publication is part R.GeissLeu Inc. test the choir's ability to achieve long text of an outstanding collection of music by Since 1877 phrases. Most are four measures long, women composers from the twelfth cen­ P.O. Box 432, Old Greenwich, CT 06870 but some are as long as seven. The range tury to the present day available from the Phone: (203) 637-5115 is moderate, running from b~ to e~2. The Hildegard Publishing Company. piece would work well as an extended Leslie Guelker-Cone choral response in a worship service, but it also would merit inclusion on a con­ cert. A separate American sign language guide is available at no cost from the Three Folk-songs for Upper voices is coming! publisher (30/I240T). John Rutter (arr.) Craig Scott Symons

MAY 1998 PAGE 91 brief pieces will be enjoyed by choirs of to the piece, giving the impression of This lovely song expresses children's all ages, though the youngest of singers fluttering snow flakes. Pisnicka 0 vrabici innocence and faith. The text and may not appreciate the subtleties of the is intended for the youngest children and tessitura are great matches for children's folk texts. reflects the feeling of a winter day. Three voices. The simplicity of vocal writing, John Buehler verses with the same melody but differ­ text, and accompaniment unite to ex­ ing dynamics and accompaniment make press a profound truth. up the song. The melody is easily sing­ Steven R. Gibson 2 able with a range of f1 to c • Although a Two Winter Songs by Petr Eben singing translation is provided, part of PetrEben the charm of these pieces would be lost if When Children Pray Unison treble, piano they were not performed in their original AnneWtlson World Music Press, published separately: language. The excellent pronunciation Unison, keyboard 1. Snih (Snow), 26, $1.50 guide and some historical background Selah, 422-728, $1.20 2. Pisnicka 0 vrabici (Song on the Czech people by editor Edward about a sparrow), 27, $1.50 O'Connor will make this possibility at­ When Children Pray sets a wonderful (Also available as a set for $2) tractive for many directors. text by Brian Wren that speaks to adults Carolee Curtright about the way they listen to children and Respected Czech composer Petr Eben view a children's choir. While sometimes has created two delightful settings of texts people look at children as "cute" and their by Vaclav Ctvrtek that would be very singing as "nice," listeners are encour­ accessible for young choirs. A thorough -we Thank You, Lord aged to hear the children as "God's way pronunciation guide is provided for the Susan Gabriel of calling you." There are speaking parts Czech text. The melody line of Snih is Unison, keyboard for the choir and individual soloists. The simple and basically pentatonic. The ac­ StevenSong (Intrada, agent), SSC-2131, melody is delightfully simple, with se­ companiment adds interest and energy $1 quences that would be eas.y to teach. This

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PAGE 92 CHORAL JOURNAL piece would be an ideal choice for one of the young choirs in a multiple choir church program. The tessitura and range are easily accessible with the highest pitch being d2 and the lowest d. What a won­ derful message for a congregation on the importance of children singing in wor­ Destinations ship. Carolee R. Curtright

With Pipes ofTin and WOod Make Known Carol Doran Unison mixed choir, descant, congregation, and organ Oxford, 94.013, $2.25

This hymn-anthem is one of a series of collaborations between composer Carol Doran and author Thomas H. Troeger. Originally written as a congregational hymn, the work is an extended arrange­ ment intended, as the anthem's inside cover states, "to be sung by all those who gather to celebrate the music ministry and the presence of a fine pipe organ." Following an extended organ introduc­ tion, the choir sings a verse of the melody, -.JL followed by a verse of "call and response" with the congregation. Each of the four stanzas is accompanied by different har­ monizations to coincide with the text, which describes the various sounds of the TRINI1Y organ. The final stanza includes a so­ LUTHERAN prano descant. Indications are specific SEMINARY" about the organ registrations through­ 1998 Summer Music Courses out. The energy that Rows from the Graduate Credit substantial organ accompaniment will June 8 - 12 Christian Music Thru the Ages add vigor to any event that utilizes a pipe Donald L. Huber, Professor of Church organ. History, Trinity Lutheran Seminary. Craig Scott Symons June 15 - 19 Contemp. Christian Music Mark Allan Powell, Robert and Phyllis Leatherman Professor of New Testament -C]- Studies, Trinity Lutheran Seminary. June 22 - 26 Perspectives in Choral Conducting, .,. Performances Beginning and Advanced courses Hillary Apfelstadt, Assoc. Prof. of Choral 'Wf:dm~d;JlY; June.24 & Saturday, June 27 Studies at Ohio State Univ.; Choir Director, Sponsored by rbe O'ahu Choral Society Linworth Methodist Church, Columbus, OH. .wirb rbe University of Hawai'i at Manoa Your exc.lusive sourc.e for ~omanian For more information, contact: c.horal music. and beyond ... 1999 Festival May Schwarz "Creation Oratorio" Associate Professor of Church Music A CATALOG and by Franz Josef Haydn Director, M. A. in Church Music program 'VSAMPLER TAPE! Trinity Lutheran Seminary Applications being accepted for ~'\l!"" (L Choral 2199 E. Main St., Columbus, OH 43209-2334 1998 and 1999 Festivals. $fi.fi- P. O. Box 27830 Phone: (614) 235-4136 Seattle, W A 98125-2830 Individuals and groups call for information Phone • (206) 364-4225 Fax: (614) 238-0263 Fax. (206) 364-4569 (808) 595-0327/1-888-284-6742 (0940) Email:[email protected] E-tnail • [email protected] [email protected]

MAY 1998 PAGE 93 ~ti<"o~ns~c;/ ,::?:!'{~!,;:::;c59"~~::'- ,1)''&,\;:;i~1;~''l4';e;::;,;:;r.:- ?-~~~;i;;';ff~ ~~;0tr'Lte.

c_ove!l~o/10 qJu!?~. ~oston. ?-J!-a~.i.May.',~!t1B8&~ 19~~~~~lmg~@~~~f~~i~~~~~~6~8~~nitw~o~~.~&~~,~~~"~:~~~~~~~~~~~~0"~~~~'~~~!~C7~~Z§? cY? ~,ero--~'*n ~ &c~,u?:: ' ~ 7;:?€ ~t'%i$'&'nS"7&"77Z ,e.c.~(;Z'.f:!? -"'[<0- :p6',,:;~ ~~~,~,~~,~-~~"" ~ ~ ~ ~'~~--~~L~ ~~~ ~~/_",-~",,,~~ la> ~"'~-~ ~ ~"'"TaG~ ~-<~-~~u.';i~ W~ ~ ~_.af~~... ~>:4??':Yf.Pt"r::;)!:V__ ~ ~~&-"';''tP~ ~<.\;.v r.~v~ ~.?':?'·-/rZ;.I' b~,c;;;,.£.:,:·/..?"'&:, ~va::.Z:5 -k,,~ !t"-L-d·'\u.;;.~ff~ ;-"---~.,p:g,:~~.? k~::/'-~/~J~"i'~{~'"

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""'''' ,,' 9.. 4/1. ""'7' h " ptp' 4''''''' '# .,f d _ ?,$~%Z:~$'SO?/~E? O~B(i~§9~1 0 ~u;g ~¢y ~~~~;M? (9:.z~,~:.~?.4~~ (~~7;"~51;.,[.fZ~~~ Ai~ ~7;?~& 'U'P'.b7VE;'2?'!_'97?'''ij;:' ~~o~'7J~_O"'~I;SJ3,;gJ~,f,~;;;;? ~?0."£~y "'I"" A";L-1::2L~~' ~;?;!,:i5 O? ~{5'7u':~Z: /.',I'\y ':;rfi~~2t~~~ ?e&19I)AgLgl:?J1;igfu;§~p~.g, ill)f.!}~.~a!-e!16~ue~seiPE2f'.9f~r-6? '2-?;''f2?UO~L3~:Z ~*, Reviewed in Brief Editor's Note: The following unison settings are alsorecommended. with custom-made

Come Thou Glorious Day of P7'omise Unison (or canon), handbells gold-tone pins (Ven, oh dia pl'ometido) Sacred Music Press (Lorenz, agent), #101 Lois Angel Benito (arr.) 1209 S, $1.50 Unison, keyboard, violin Jackman (Theodore Presser, agent), 392- Thirteen choral responses are in­ 00915, $1.30 cluded in this compilation, including calls to worship, scripture responses, of­ This brief piece alternates violin in­ fertory sentences, prayer responses, and terludes with eight-bar vocal phrases of a dismissal sentences. The texts come from nineteenth-century hymn rune. A suc­ the composer, scripture, and Hartmann cessful performance will require an able Schenck. The handbell part covers two violinist and an adult choir. Vocal range octaves. The score includes numerous 1 2 d _e ; rhythmic requirements very performance suggestions. An appealing simple. The A.C. Smyth hymn text is and worthwhile addition to the church also given in a singable Spanish transla­ musician's library. tion.

Song ofthe Birds Make a Joyful Noise to the Lord Delores Hruby (arr.) Nancy Hill Cobb Unison, piano andlor xylophones, Unison, keyboard percussion, flutel recorder Triune (Lorenz, agent), #101 1620K, $1.20 Choristers Guild (Lorenz, agent), CGA764, $1.20 Nancy Cobb's setting of Psalm 100 has a winning combination of familiar This setting of a Korean folk tune Biblical text and a rhythmic upbeat feel with a sacred text would be very effective that will appeal to young singers. Range for a children's choir in a church setting. 2 d-c ; ABA form with short coda is easily The text is about birds and imitates their taught to young singers. calls. The wide range (d-F) of the pentatonic melody may be a challenge, but the repetition of the melody makes PieJesu the piece easy to learn. Several perfor­ Gabriel Faure mance options are given; piano accom­ Unison, piano paniment would work, but the piece BriLee, BLlOl, $1.25 would be more effective with Orff in­ struments. Editor Brian Busch has provided this edition of the soprano solo from the Faure Requiem for use by unison A Spring Carol children's choirs. The key has been low­ Marie Pooler ered a whole step to make the range Unison or two part, keyboard more accessible (&1_&2), and some edi­ Art Masters, 750, $1 torial dynamic markings, notated as such, from $6 ea. have been added. The piano accompani­ Based on an Irish folk melody, this including color enameling! ment is quite usable. Brief performance simple anthem includes optional words notes are included, as is a phonetic pro­ so that it may be used either for Easter nunciation guide for the Latin. No trans­ or as a celebration of spring. Best suited • hanging bars additional lation is provided. for older elementary voices. The second with custom engraVing voice part adds harmonic interest and would be easily mastered by most young Phone (888) 876-1883 Responses /01' Handbells and Voices singers. Rhythmic keyboard part suit­ Gerhard Krapf able for a young pianist. toll-free ask for Barry

Contributors to Reviewed in Brief: Donna S. Bloom, John Buehler, Corydon J. Carlson, Carolee Curtright, Steven R. Gibson, Kevin Kellim

MAY 1998 PAGE 95 Announcing: the Choral Journal Writing Fellows Program

Goals of the Program .. 1. To recognize, encourage, and develop good writing among choral directors. 2. To refine writing projects for publication in the Choral Journal, specially identified as the work of Writing Fellows Who Is Eligible to Be a Writing Fellow Any member of ACDA: teachers, professionals, graduate students, others. We will develop projects according to the interests of participants. How the Program Works We tailor the program around each participant. You may start with a completed project, a work-in-progress, an idea, or just a request to participate. We can edit the completed project, guide the work-in-progress, develop the idea, or design a new project according to your interests.

We will work on both content and style: finding, defining, and clearly conveying information and ideas. You will have close personal attention and guidance as you produce and polish your work.

The final result in almost every case will be a published article in the Choral Journal Who Benefits from the Writing Fellows Program The Choraljournal-by publishing thoughtful, appealing articles. Participants-by association with our national publication and by designation of their published results as the work of Choral Journal Writing Fellows How to Become a Writing Fellow Send: • A cover letter explaining your interest • If you wish to edit or complete a project, send a copy of the project • If you have a new project in mind, send a description • If you would like to work on developing a new topic, send a sample of something else you have written • Ifyou are a graduate student, we would like to know that you have the approval of your advisors to participate in the Writing Fellows Program

Forward your materials or questions to:

Nina Gilbert ChoraljournalWriting Fellows Program Music 292, Building 714 University of California Irvine, CA 92697-2775

e-mail: [email protected] fax: 714/824-4914 Deadlines This is a revolving program. For first-round consideration, please send your materials to Nina Gilbert by August 1, 1998.

PAGE 96 CHORAL JOURNAL THE CHORAL JOURNAL: .AN INDEX TO VOLUME THIRTY-EIGHT by Scott W. Dorsey

The classification numbers used below correspond to subject headings in all ACDA monographs utilizing bibliographic format, particularly the "ChoralJournar 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 classifications with no entries for this volume year have been omitted from the listing. Rep., Bib., and Disc. are abbreviations for repertoire, bibliography, and discography.

SUBJECT CLASSIFICATION

1. Choral composition, arranging, editing, and publishing "Manuscript to Printed Octavo: How the Pros Do It," by Steven Powell. 11/97:37.

2. Composers and their choral music "Franz Schubert and the Vienna Synagogue," by Joshua R. Jacobson. 8/97:9. "Braluns on Death and Destiny: Philosophical, Theological, and Musical Implications," by Sharon Breden. 9/97:9. "What's in a Label?: Structure and Emotion in Brahms's Requiem, Movement Six, Finale," by Wayne Abercrombie. 9/97: 17. "Addendum." 10/97:4. "Dating Josquin's Enigmatic Motet Illibata Dei virgo nutrix," by Leslie Clutterham. 10/97:9. "Verdi's Opera Choruses: Songs that Rallied a Nation," by Lila Rhodes. 11197:93. "Wie schon leuchtet der Morgenstern in the Chorale Cantatas of]. S. Bach," by Sarah Meredith. 12/97:9. "Praising Life: The Choral Music of Kenneth Leighton," by Thomas Lancaster. 12/97: 15. "The Choral Music of Henryk G6recki," by Gregory M. Pysh. 12/97:33. "Samuel Adler's A Psalm Trilogy: The 1998 Raymond W. Brock Memorial Endowment Commissioned Work," by John Silantien. 1198:9. "Musical Metaphor: Cylic-Interval Structures in Britten's War Requiem," by Edward Lundergan. 2/98:9. "Rescued from the Fiery Furnace: George Frederick Bristow's Oratorio ofDanie~" by David Griggs-Janower. 4/98:9. "KrzysztofPenderecki's Seven Gates ofJerusalem," by Ray Robinson. 5/98:9. "A Monument of the Polish Renaissance: Mikofaj Gom61ka's Psalter," by Leslie Guelker-Cone. 5/98:15.

3. Choral conducting and choral techniques: General "The Choir and How to Conduct it: Pavel Chesnokov's Magnum Opus," by John Christian Rommereim. 2/98:29.

6. Choral conducting and choral techniques: Conducting technique "Is Your Baton Suffering from the Terrible Two's?" by Michael Yachanin. 9/97:37.

7. Choral conducting and choral techniques: Rehearsal "A Choral Director's Rehearsal Checkup," by Charlene Archibeque. 8/97:33. "When Words Fail," by Ann R. Small. 9/97:33. "Chaos Theory and the Choral Conductor: Learning to Trust Musical Intuition," by Ray Wheeler. 10/97:23. "Standards in Action: The National Standards in the Choral Rehearsal," by Michele E. Kaschub. 3/98:63.

8. Choral conducting and choral techniques: Vocal technique, vocal production, and tone "Warning! Soft Singing May Be Harmful to Your Health," by Paul Kiesgen. 8/97:29.

13. Choral conducting and choral techniques: Musicianship "It's a Major-Key World," by Nancy Cobb. 5/98:31.

14. Choral conducting and choral techniques: Organization and administration "Technology for the Choral Director: A New ChoralJournal Column," by Donald Oglesby. 12/97:27. "The World Wide Web: Composer Information," by Donald Oglesby. 2198:47.

15. Choral conducting and choral techniques: Repertoire selection "Broadside," by William Dehning. 12/97:25. is coming! "Repertoire and Conductors of Fifty All-State Choirs, 1995-96," by Rebecca R. Reames. 12/97:29. "Letter to the Editor," by David L. Means. 3198:4. Listen to this space ...

MAY 1998 PAGE 97 Catalogue of Choral Music Arranged in Biblical Order (second edition), by James Laster. Vance D. Wolverton, reviewer. 10/97:48. Comprehensive Choral Music Education, by John B. Hylton. Daniel A. Gordon, reviewer. 11/97:59. Choral Conducting: Focus on Communication, by Harold A. Decker and Colleen J. Kirk. Lewis W. Gordon, reviewer. 11/97:60. Precision Conducting: The Seven Disciplines of the Masterful Conductor, by Timothy W. Sharp. Lewis W. Gordon, reviewer. 11/97:6l. Choral Techniques: Beyond the Basics. Practical Suggestions for Choral Conductors of School Groups, and Community and Church Choin, by Deral]. Johnson. Vance D. Wolverton, reviewer. 11/97:62. Fine Tune Your Conducting Skills (Videotape), by Timothy Mount. Vance D. Wolverton, reviewer. 11197:63. Elgar, Newman, and the Dream of Gerontius in the Tradition of English Catholicism, by Percy,M. Young. Stephen Town, reviewer. 2/98:59. Vaughan Williams Studies, edited by Alain Frogley. Stephen Town, reviewer. 2/98:60. Handel's Oratorios and Eighteenth-Century Thought, by Ruth Smith. Robert K. Demaree, reviewer. 2/98:62. The Music ofEdmund Rubbra, by Ralph Scott Grover. Stephen Town, reviewer. 4/98:67. The Critical Editing ofMusic: Histmy, Method, and Practice, by James Grier. David Greennagle, reviewer. 4/98:68. Hymnology: A Collection ofSource Readings, by David W. Music. Gregory M. Pysh, reviewer. 4/98:68. Purcell Studies, edited by Curtis Price. Bonnie Borshay Sneed, reviewer. 5/98:8l. Cross, Sword and Lyre: Sacred Music at the Imperial Court ofFerdinand II ofHabsburg, by Steven Saunders. Lewis W. Gordon, reviewer. 5/98:82. Libel' Usualis. D. Martin Jenni, reviewer. 5/98:83

72. Record reviews Franz Schubert: Lazarus, or 'The Celebration of the Resurrection, Sacred Drama in Three Acts. Gachinger Kantorei Stuttgart; Helmuth Rilling, conductor (Hanssler-Verlag 98.111). James Hejduk, reviewer. 8/97:43. : Mass in C Majm: Corydon Singers; Matthew Best, conductor (Hyperion CDA 66830). Doug Bachorik, Jr., reviewer. 8/97:44. Heilig! Sacred Motets ofMendelssohn and Brahms. Gloria:: Dei Canto res; Elizabeth Patterson, conductor (Gloria:: Dei Cantores CD CD 023). Doug Bachorik, Jr., reviewer. 8/97:45. Francesco Cavalli: Vespro della beata Vergine. Concerto Palatino; Bruce Dickey and Charles T oet, conductors. (Harmonia Mundi France 905219.20). Sven Hansell, reviewer. 8/97:46. Morten Lauridsen: The Complete Choral Cycles. Choral Cross-Ties; Bruce Browne, conductor (Freshwater Classical FWCL 105- 2). James Hejduk, reviewer. 8/97:46. Howells: Choral Works. The Finzi Singers; Paul Spicer, conductor (Chandos CHAN 9458). Doug Bachorik, Jr., reviewer. 8/97:47. : Geistliche Chormusik. RIAS-Kammerchor; Marcus Creed, conductor (Harmonia Mundi 901591). Chester 1. Alwes, reviewer. 9/97:47. Johannes Brahms: Warum ist das Licht gegeben. Kammerchor Stuttgart; Frieder Bernius, conductor (Carus Verlag 83.201). Chester 1. Alwes, reviewer. 9/97:47. Johannes Brahms: Lieder und Gesange. RIAS-Kammerchor; Marcus Creed, conductor (Harmonia Mundi 901592). Chester 1. Alwes, reviewer. 9/97:49. Johannes Brahms: Lieder und Romanzen. Arnold Schoenberg Chor; Erwin Ortner, conductor (Teldec D 106088). Chester 1. Alwes, reviewer. 9/97:49. Johannes Brahms: Ein deutsches Requiem, op. 45. Chorus Musicus Kaln; Christoph Spering, conductor. Richard J. Bloesch, reviewer. 9/97:5l. Johannes Brahms: Ein deutsches Requiem, op. 45. Collegium Vocale; Philippe Herreweghe, conductor (Harmonia Mundi 901698). Richard]. Bloesch, reviewer. 9/97:5l. Divine Grandeur. The New York Concert Singers; Judith Clurman, conductor (New World 80504-2DIDX#034727). David Stein, reviewer. 10/97:43. Motets: J S. Bach. RAlS Kammerchor; Rene Jacobs, conductor (Harmonia Mundi 901589). David Stein, reviewer. 10/97:44. Ludwig Van Beethoven: Cantatas. Corydon Singers; Matthew Best, conductor (Hyperion CDA 66880). David Stein, reviewer. 10/97:44. Johannes Ockeghem: Missa de plus en plus. Tallis Scholars; Peter Phillips, conductor (Gimell 454 935-2). Michael Eckert, reviewer. 10/97:46. Johannes Ockeghem: Missa de plus en plus. Clerks' Group; Edward Wickham, conductor (Gime1l454 935-2). Michael Eckert, reviewer. 10/97:46. Blue Wheat: A Harvest ofAmerican Folk Songs. Dale Warland Singers; Dale Warland, conductor (American Choral Catalog ACC 122). Art Dyck, reviewer. 11197:53.

PAGE 100 CHORAL JOURNAL I On Yoolis Night: Medieval Carols and Motets. Anonymous 4 (Harmonia Mundi 907099). D. Martin Jenni, reviewer. 11/97:54. The Lily and the Lamb: Chant and Polyphony from Medieval England. Anonymous 4 (Harmonia Mundi 907125). D. Martin Jenni, reviewer. 11197:54. A Star in the East: Medieval Hungarian Christmas Music. Anonymous 4 (Harmonia Mundi 907139). D. Martin Jenni, reviewer. 11/97:54. Music ofVierne, Dupre, and Widor. Choir of Westminster Cathedral and the Hyperion Chorus of Baritones; James O'Donnell, conductor (Hyperion CDA66898). Weyburn Wasson, reviewer. 11197:56. Arvo Plirt: De Profundis. Theatre of Voices; Paul Hillier, conductor (Harmonia Mundi France HUM 907182). Doug Bachorik, Jr., reviewer. 12/97:57. Classic Electra. Electra Women's Choir: Morna Edmundson and Diane Loomer, conductors (Skylark 9402). Wendy Payton, reviewer. 12/97:58. Monk and the Abbess: Music of Hildegard von Bingen and Meredith Monk. Musica Sacra; Richard Westenberg, conductor (Catalyst 09026-68329-2). Robert Demaree, reviewer. 12/97:58. Over the Sea to Skye: Folk Songs from around the World. Washington Men's Camerata; Thomas Beveridge, conductor (Gothic G 49089). Robert Demaree, reviewer. 12/97:60. Stravinsky, Mass; Gesualdo, Responsoria. The Choir of Trinity College, Cambridge; Richard Marlow, conductor (Conifer 75605 512322). David Shaler, reviewer. 12/97:61. Celebration ofthe Spirit. The Choir of Clare College, Cambridge; Timothy Brown, conductor (Columns Classics, no number). Mark M. Ring, reviewer. 2198:55. Manuel Cardoso: Missa miserere mihi Domine. Ensemble Vocal Europeen; Philippe Herreweghe, director (Harmonia Mundi France HUC 901543). Marthew Faerber, reviewer. 2/98:56. Sounding Joy: The Sacred Music From the Last Decades ofthe 20th Centmy. American Repertoire Singers; Leo Nestor, conductor (Arsis 105). Vernon E. Huff, reviewer. 2/98:56. John Sheppard: The Western Wynde Mass and Other Sacred Choral Music. The Sixteen; Harry Christophers, director (Hyperion CDD22022). David Stein, reviewer. 2/98:58. Anton Bruckner: Mass No.2 in E minor, Te Deum. Gachinger Kantorei Sturtgart; Helmuth Rilling, conductor (Haussler Classics 98.119). Mark M. Ring, reviewer. 4/98:63. God's Trombones. Gloria': Dei Cantores; Elizabeth Patterson, conductor (Gloria': Dei Canto res CDCD 017). Caroline Cepin Benser, reviewer. 4/98:64. Alun Hoddinott: Dives and Lazarus. Welsh National Opera Chorus; Sir Charles Groves, conductor (Lyrite SRCD.332). Arthur P. Dyck, reviewer. 4/98:64. Sergi Rachmaninov: Vespers. The Russian Chamber Chorus and the Voskreseniye Choir of Moscow (Northeastern NR 256- CD). Gerald Neufeld, reviewer. 5/98:73. Schubert: Masses. James Hejduk, reviewer. 5/98:74.

74. Choral activities in the USA and abroad Cone ept Tours "A Report on Chorus America's A blidge to the World Twentieth Annual Conference," by Earl Rivers. 11197:25. Not Just Another Performance in a Foreign Place "Breaking the Silence: Choral A cultural focus, in the broadest and best sense of the word. Music of the Baltic Republics. A customized itineral"Y; plarmed around yom group's unique agenda. Part One-Estonia," by Vance Experienced professionals at evelY stage, from tom design to execution. D. Wolverton. 2/98:21. An educational perspective, with visits to historic sites & cultural landmarks. "Breaking the Silence: Choral Specialized guides, accommodations & travel amenities to meet yom budget. Music of the Baltic Republics. Part Two-Latvia," by Vance D. Music Collaborations &. Performance Tours Wolverton. 4/98:37. "Breaking the Silence: Choral Group Tours to New York City Music of the Baltic Republics. Cathedral Tours of Great Britain Part Three-Lithuania," by Eastern &. Western Europe Vance D. Wolverton. 5/98:23. UK, South America &. Asia Contact: Dennis Hunt, Concept Tours, Inc. 170 W 74th St., NYC 10023 Tel: 212-580-0760 Fax: 212-874-8605 [email protected]

MAY 1998 PAGE 101 Author's Index

-A- -D­ Gordon, Daniel A., 11197:59 Abercrombie, Wayne, 9197:17, 9197:59 David, Marilee, 10197:4 Gordon, Lewis W., 11/97:60, 11197:61, Alwes, Chester L., 9197:47, 9197:47, de Catanzaro, Christine D., 10/97:41, 5/98:82 9197:49,9197:49 3198:65, 5/98:61 Greennagle, David, 4/98:68 Anderson, Kathy, 10197:35, 3/98:41, Dehning, William, 12/97:25 Griffin Carter, Marva, 8/97:41 4/98:54 Demaree, Robert, 12/97:58, 12/97:60, Griggs-Janower, David, 4/98:9 Archibeque, Charlene, 8/97:33 2198:62 Groom, Mitzi, 3/98:41 Diekhoff, Bill, 8/97:35 Guelker-Cone, Leslie, 9197:35, 5/98:15 -B- Dorsey, Scott W., 11/97:17, 11/97:41, Bachorik, Doug Jr., 8/97:44, 8/97:45, 3/98:41,4/98:56, 5/98:97 -H­ 8/97:47, 12/97:57 Dox, Thurston, 4/98:23 Hammond, Russell, 3/98:41 Ballweg, D. Brent, 8197:36, 4/98:55 Dyck, Arthur P., 11/97:53, 4198:64 Hansell, Sven, 8/97:46 Bloesch, RichardJ., 9197:51, 9197:51 Hejduk, James, 8/97:43, 8/97:46, 8/97:54, Boers, Geoffrey, 3/98:61 -E- 5/98:74 Borshay Sneed, Bonnie, 5/98:81 Eckert, Michael, 10/97:46, 10197:46 Hubbard, Monica, 5/98:35 Bradshaw, Janice, 8/97:35 Huff, Vernon E., 2/98:56 Breden, Sharon, 9197:9 -F­ Brendell, Janna, 9197:27 Faerber, Matthew, 2/98:56 -J- Ferreira, Linda, 3/98:9 Jacobson, Joshua R., 8/97:9, 9197:39 -C- James, Darrell, 4/98:53 Catoni Conlon, Joan, 2/98:4 -G­ Jenni, D. Martin, 11197:54, 11197:54, Cepin Benser, Caroline, 4/98:64 Gardner, Howard, 3/98:21 11/97:54, 5198:83 Clutterham, Leslie, 10197:9 Gawthrop, Daniel E., 10/97:17 Cobb, Nancy, 5/98:31 Gibson, Steven R., 10197:47 Gilbert, Nina, 11197:33, 5/98:65

'" .", '.~~,'':''~_~~1';''': '--'('.',,_ "':.~.': . .' Augsburg Fortress \:\; Stiln,}Jl e r W 0 r S~fP /'< ... ~~r Music Ciinte$",~,;!Jk~;;'} VY\V ' ,',./ . Mark your calendars and plan to attend one of the following sessions: August 3-4 Seattle, WA August 5-6 Minneapolis, MN

August 7-8 Columbia, SC / August 10-11 Columbus,OH NEW LOCATION! ;'.1/ August 12-13 Chicago,lL August 14-15 Philadelphia, PA

Clinicians for every site: Hal Hopson, Joel Martinson, Ken Jennings, C. Michael Hawn, and Bread for the Journey

Reading sessions in Choral, Organ, and Instruments· Workshop sessions on Children's Voices, Handbell Techniques and Repertoire, Congregational Song, and The Worship SpacEl Environment

(~)~ibi~YfPonso[~~tJych~ri~~~I:~'GUild" i>/): ",."e,' ',:.... ,",J"" ' .NO .PB~REGISTRATION REQUIREp·.For more details;calll ~800-328;...4648to requesl:a dinic,brochure. , \, :-.-:~. ' ; -.-- :" .... ' .. ; ,,-, <:.:~::- .~.'. <~ "'" ~.-,-' -. ~ '-. ' " /-;-~ .. \

PAGE 102 CHORAL JOURNAL -K- -T- Weir, Michele, 3/98:41 Kaschub, Michele E., 8/97:35, 3/98:55, Tagg, Barbara, 3/98:9, 3/98:37 Wheeler, Ray, 10/97:23 4/98:54 Town, Stephen, 9/97:60, 9/97:60,2/98:59, Witvliet, John D., 3/98:47 Kiesgen, Paul, 8/97:29 2/98:60, 4/98:67 Wolverton, Vance D., 10/97:47,10/97:48, 11197:62, 11/97:63,2/98:21,4/98:21, -L­ -W­ 5/98:23 Lancaster, Thomas, 12/97:15 Wasson, Weyburn, 11197:56 Lewis, Diane, 8/97:23 Waters, Ann W., 8/97:17 -y­ Lundergan, Edward, 2/98:9 Webb, Guy B., 11197:52 Yachanin, Michael, 9/97:37 -M­ Weber, Dennis, 1198:4 Mallonee, Richard 1., 3/98:31 Weinert, William, 8/97:55 -C]- Marvin, Jameson, 10/97:38 Mattson, Phil, 11197:41 McCoy, Jerry, 9/97:34 Meredith, Sarah, 12/97:9 Moses, Don V, 8/97:52 Texas Choral

-N­ Directors Association Neufeld, Gerald, 5/98:73 43rdAnnual Convention -0- Oglesby, Donald, 12/97:27,2/98:47 and New Music Reading Clinic

-P­ . "July 29~August 1,1998 Parker, Alice, 3/98: 17 San Antonio .Convention Center Parr, Clayton, 3/98:41,5/98:34 - Enjoy festive San41Jtqniocthe historic downtown Payton, Wendy, 12/97:58 Peter, Sandra, 3/98:41 area) the Riverwalk, the \41amo -cplusSeaWorld Powell, Steven, 11/97:37 and Fiesta' Texas ' Pysh, Gregory M., 12/97:33, 4/98:68 -Over 300newmu;i~fip:"~~''tl~\ -R­ - Clinics;Tii6~kshoNt.rft';PO"{rttiJrfIi1~;/i'£~y,ctin!J Reames, Rebecca R., 12/97:29 techniques, anli:,.I~#riiJ1(re setectigtEtfor all areas: Rhodes, Lila, 11197:93 Elementa/rY""::f, f" Ring, Mark M., 2/98:55, 4/98:63 Middle School/]uriia'J:Iligb Rivers, Earl, 11197:25 Higb School '< '" Robinson, Ray, 5/98:9 Church - full/part time Rommereim, John Christian, 2/98:29 , Community -Trade show. with over 250 exhibit booths -S­ Sandra, Stewart, 8/97:51 For registration information:· , Satrang Hoel, Roger, 2/98:43 TCDA· 2550 S.IH35, Suite20l. AUstin, TX 78704. 512/416-TCDA Shaler, David, 12/97:61 Sharp, Timothy A., 3/98:41 Sharp, Timothy W., 2/98:51, 4/98:61 Shasberger, Michael, 12/97:55 Shay, Robert, 12/97:39 Shrewsbury, Christina R., 11/97:4 Silantien, John, 1198:9 Small, Ann R., 9/97:33, 5/98:33 Spradling, Diane R., 5/98:33 Stam, Carl, 3/98:47 Stein, David, 10/97:43, 10/97:44, 10/97:44, 2/98:58 Strimple, Nick, 4/98:47 Stultz, Marie, 10/97:27

MAY 1998 PAGE 103 REVIEWERS THIS ISSUE ADVERTISERS Donna S. Bloom Steven R. Gibson Wyant Morton 118 Judd Falls Road First Baptist Church Department of Music INDEX Ithaca, NY 14850 2600 Rouse Road California Lutheran University Kinston, NC 28504 60 West Olsen Road MAY 1998 A1IJ)ACA ...... :...... ;.... 16 John Buehler Thousand Oaks, CA 91360 ACFEA Tour Consultants ...... 82 Baker University Leslie Guelker-Cone Abingdon Press (Cokesbury) ...... 66 Alden Lee Company ...... 87 P.O. Box 65 Department of Music Craig Scott Symons Alliance for Arts & Understanding ...... 69 Baldwin City, KS 66006 Western Washington University First United Methodist Church Alliance Music Publications ...... 81 Ambassador Travel Service ...... 88 Bellingham, WA 98225 Royal Oak, MI 48067 AU$hburg Fortress Publishers ...... : ...... , .. 102 Carolee R Curtright ~;ev,::'a C~ii~g~:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::·7~ University of Nebraska Kevin Kellim Michael E. Yachanin British-European Specialty Tours ...... 20 School of Music Department of Music The Hartt School C-S Travel Service, Inc...... 63,71 Cabot 500th Anniversary Corporation ...... , ...... 29 Lincoln, NE 68588 Washburn University University of Hartford California Cantamus ...... 32 Topeka, KS 66621 West Hartford, CT 06117 Cantus Quercus Press ...... 82 Carnegie Hall ...... ;...... ;.... 63 ChoralWeb Publishing, Inc...... 62 Choraline ...... 89,91,97 College Music Society, The , ...... , ...... 33· BOOK and MUSIC PUBLISHERS and Colwell Arts Management ...... 17,65 COMPACT DISC DISTRIBUTORS ~~~~~ftt lr~~r~.::::::::::::::::::::::::::::::::::::::::::::::::::::::::: .. 1g~ Des Moines Children~s Choruses ...... 12 Send books, octavos, and discs for review to: Donald Miller ...... 17 Choral Journal Drinker Library/Choral Music ...... 32 iJ:e~~~~S~~reg~·:::::::::::::::::::::::::::::::::::::::::::::::::::::: ~! P.O. Box 6310 First Presbyterian Church, Libertyville, IL...... 32 Lawton, Oklahoma 73506 First UMC, Cuyahoga Falls ...... 71 FirstWay ...... 67 Telephone: 580/355-8161 Fraser Valley Christian High School ...... 58,75 8:I~~~~r~~~~~~c~~:':::::::::::::::::::::::::::::::::::::::::::: ~~ CHORAL REVIEWERS ~::~n:t~~sices~:c~·::::::::::::::::::::::::::::::::::::::::::: ~~ ACDA members wishing to review choral music should contact: ~~I;~~:tiC~lleg~·:::::::::::::::::::::::::::::::::::::::::::::::::: ~; Indianapolis Children's Choir ...... 83 Corydon J. Carlson International Cathedral Music Festival ...... 64 Inuopa International/USA, Inc...... 22 P.O. Box 9517 Iowa Choral Directors Association ...... 58 Kapellmeister Enterprises, Inc...... 4, 24 Bolton, Connecticut 06043 Knight-Shtick Press ... ;...... ;; ...... 28 Telephone: 860/673-3221 Levine School of Music ...... 86 t~ili~~ ~~fl~~~~~~~~.:::::::::::::::::::::::::::::::::::::::::::::::::::: ..6~ Lyric Choir Gown Company ...... 63, 66 BOOK REVIEWERS Malmark, Inc...... •...... •...... 26 ' Manager Software ...... 65 ACDA members wishing to review books about choral music should contact: Mark Foster Music Company ...... 6] Mark Fosrer Music Tours ...... 89 Stephen Town Master Schola ...... C4 Mendelssohn Club/Philadelphia ...... 74 Department of Music MidAmerica Productions .: ...... 8, 30 MorningStar Music ...... 36 Northwest Missouri State University Music Workshops International :...... 77 Maryville, Missouri 64468 MusicFestOrlando, Inc..... ;...... , ... 76. Musica Mundi, Inc...... : 11 Telephone: 816/562-1795 Musica Romaniea ...... : .. : ...... 67, 93 Musical Destinations ...... 93 New York Choral Society ...... 86 North American. Music Festival ...... 35 COMPACT DISC REVIEWERS Northern Arizona University .: ...... • 77 ACDA members wishing to review compact discs should contact: g:!'g':,~~~~~ ~~~:~~ .::::::::::::::::::::::::::::::::::::::::::::::::: ~~ Part Predominant Recordings ...... 12 Richard J. Bloesch Performing Arts Abroad, Inc ...... 74 School of Music ~~'d:::~n~~h~~:~~~.::::::::::::::::::::::::::::::::::::::::::::::::::: .~5 . Plymouth Congregational United Church of Christ .... ; 57 University ofIowa Pocket Coach Publications ..•...... 36, 57 Iowa City, Iowa 52242 R. Geissler, Inc...... , ...... : ...... 91 Regency Cap and Gown ...... , ...... 29,71 Telephone: 319/335-1603 Rene Clausen Music Company ... :...... ;.. :...... 86 Rondeau Press ...... •...... 36 SDG Records ...... :...... 34 Sandman Enterprises ...... • , ...... 29,95 CHORAL jO URINAL Santa Barbara Music Publishing ...... 25 Sean James Enterprises ...... :...•.... ;...... 33 SUBMISSION INFORMATION Select Travel Service, In,...... 34 Articles submitted for publication in the Choral Journal should meet established Shawnee Press, Inc...... , ...... ::...... 62. Showchoir Camps of America ...... 72 specifications. Although the length of articles varies considerably, submissions generally Southeastern Apparel ...... •...... ]3 consist of ten to twenty typed, double-space pages. Referenced material should be indicated Southern Music Company ...... :: ...... : ... 92 Southwestern Community College ...... ;...... ;...... 24 by superscript and end notes. All submissions must include six copies, accompanying St. John's Boys' Choir ...... •...... 61 artwork if available, and a one- or two-sentence professional identification of the author. Suzulci Music Corporation ...... C3 Texas Choral Directors Association ...... 103 For complete writer's guidelines or to submit articles, write to: Managing Editor; Choral Theodore Presser Company ...... ,.: ...... 68 Triniri Lutheran Seminary ...... 93 Joztl'nal; P.O. Box 6310; Lawton, OK 73506-0310. Triple Disc ...... ;...... 5, 79 Universiry of California, Los Angeles ... : ..... ,:.:...... 70 ~ University Presbyterian Church, Seattle ...... 78 Village Presbyrerian Church ...... 71 Warner Brothers Publications, Inc...... 52, 53 Choral Journal layout and production: Susan Gower . West End Cosrumes ...... 71 Witte Travel ...... 87 World Projects Corporation •...... :....•...... , .. 59

PAGE 104 CHORAL JOURNAL Suzuki ToneCliimes and New Cliimettes Beautiful Yet Cost Effective Ways To Share The Music! Suzuld sets new higher standards in sound at amazingly low prices! ToneChimes are the standard of quality sound, inno­ vative features and affordability. Precision crafted from fine lightweight aluminum,ToneChimes have rounded tone chambers for easy handling, adjustable clapper heads, overtone tuning and their own indestructible carrying case with cutouts for each bell. All you need is our 2 octave set with case (HB-25) for only $699. 3rd and 4th octave add on sets are also available. They're fun, educational and cost less than any other hand chime instrument available today.

Bring the joy of music to your school, church or performing ensemble! All the beauty and inspiration of ToneChime play­ ing can be brought to your students and listening audience through our uniquely designed ToneChime Method Book Series. It's a step by step approach that shows you exactly how its done, even if you've never taught or played before.

New! cliimettes The World's Most Mfordable Hand Held Chimes! Pitched one full octave above ToneChimes, our new Chimettes are ruggedly constructed of unbreakable ABS plastic, have an overtone tuned chime attached to each handle, and are played using the same technique as ToneChimes or handbells. Chimettes are perfect as a starter set, or use together with ToneChimes or handbell choir. Best of all, the 2 octave chromatic set is only $379! They're the world's most affordable hand held chimes! eta ilZ31 fOr More ~evV 19~~ free! '--\'&3']3- t,et Our catalog 1-800-854-1594 fuff Color P.O. Box 261030, San Diego, CA 92196-1030, 1-619-566-9710, website: www.suzukimusic.com American Choral Directors Association P.O. Box 6310 Lawton, Oklahoma 73506-0310 1•• 11 ;1 •• 1. i 11 ••• 1.1 i. h1.1.1.; I. i .1 •• 11.1 •• 1.111 •• 1 ****************·5-DIGIT 38655 CHORAL 01 15962 ·60000· 75100 1998 ..... 11 173 PHILIP L COPELAND . 002 103 WOODLAND HILLS DR OXFORDMS 38655-9738

\ebration of American A. A ~ ce , IYFAOSic Master Schola .

Gerre and Judith Hancock • Organist and Master of the Master Schola 1998, a week-long program of courses, Choristers, St. Thomas Church, demonstrations and private lessons custom-designed for New York City church musicians, will be devoted to the exploration of • Associate Organist, St. Thomas the rich heritage and variety of American sacred music. Church, New York City • Sessions on American Choral Throughout the week of study, participants will have Literature, Organ Improvlsation, ample opportunity to work closely with the masters, as Choral Conducting ;w~ll as explore areas of interest in informal discussions.

° Twohundred years of American choral and organ David Arnold literature will bee'xplored in depth as well as other related • Baritone, Metropolitan Opera, Opera Company of Boston, New topics such as sacied vocal solos, organ improvisation, and York City Opera the history of chant in America. Opportunities for private • Sessions on American Sacred lessons and a variety of worship services will also be Song, Voice Building for Choir Masters; Soloist in closing concert included, plus an extensive display of books, music, CDs and other resources for sale. The week will conclude with a special concert, featuring a performance of Forsahen of Marilyn Keiser . Man by LeoSowerby, as well as other works by American • Professor of Music, Indiana composers. Master Schola is sponsored by Glorire Dei' University, Concert Organist Cantores, which is dedicated to excellence in the • Sessions on American Organ presentation and preservfltion of sacred classical music. Literature, and the American Church Musician, opening Organ Come join us this summer. on beautiful Cape Cod Bay at . Recital the Community ofJesus for a special week of study, fellowship, and warm hospitality. that is Master Schola 1998. Robert Fowells • Emeritus Professor of Music~ California State University, Chant Specialist • Sessions on Gregorian Chant, History of Chant in Amenca