Official Publication of the American Choral Directors Association
'SEPTEMBER 1995
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---- Official Publication of the American Choral Directors Association Volume Thirty-six Number Two
SEPTEMBER 1995 CHORALJO John Silantien Barton L.Tyner Jr. EDITOR MANAGING EDITOR
COLUMNS ARTICLES
From the Executive Director ...... 2 Carmina Burana: The Poetry of
From the President ...... 3 Wandering Scholars and Wayward Clerics ...... 9 From the Editor ...... 4 by R. Gordon Goodrum
Hallelujah! ...... 55 Timothy W. Sharp, editor Pronunciation of the Middle High German Sections of Carl Orff's Compact Disc Reviews ...... 61 Richard J. Bloesch, editor Carmina Burana ...... 15 by John Austin Book Reviews ...... 67 Stephen Town, editor
Choral Reviews ...... 71 Music to Sing and Play: The Choral Corydon J. Carlson, editor Works of Paul Hindemith ...... 21 by William Braun ACDA State Presidents ...... 49 Paul Hindemith's Six chansons: Repertoire and Standards Committee Reports ...... 51 Genesis and Analysis ...... 35 by Chester L. Alwes ACDA Endowment Trust ...... 52
Advertisers Index ...... 88 ACDA Conventions:
Cover art, tided "Influences of [he Planer Venus (from Stuck in High Gear? ...... 41 a Swi~s or German block-book. ca. 1475)," appears in Tbe Goliard Poets: Medieval Latin Song; find Satires and is llsed by by Sandi K Peaslee permission of New Directions Publishing Corpor.niao. New York. New York. Colorization is by Ann Pressly. Photos of Paul Hinclemirh and [he Chanson Valaisannc appear in Pilld Hindemith: Zeugnis ;11 Bildem. copyright © by Schott & Co. Ltd., 1955; copy tight © tenewed. All tights teserved. Photo A Walk Among the Giants: graphs used by kind permission of European American Music Distributors Corporation, sole U.S. and Canadian agent for Schott & Co. Ltd. Photo of the Washington National Cathe ACDJ}'s Convention Heritage .... 47 dral counesy of the \Vashington. D.C.• Convention and Visitors Association, 1991. by Colleen J Kirk
SEPTEMB ER 1995 PAGE 1 FROM THE EXECUTIVE DIRECTOR AFFILIATED ORGANIZATIONS
INDIANA N 1987, Raymond W. Brock began working as ACDA's Director of Develop CHORAL DIRECTORS ASSOCIATION ment and Administrative Assistant to the Executive Director, serving in those President - Patricia Wiehe positions until his death from cancer in 1991. During those years Raymond 2435 Glenhill Drive I Indianapolis, Indiana 46240 organized and developed the ACDA Endowment Program. Little did we know that Treasurer - Paula]. Alles one of the major contributions to the Endowment would be named in his honor. 1471 Altmeyer Road When Raymond's doctor informed him that he had only two months to live, it was Jasper, Indiana 47546 Raymond's wish that any memorials to him be given to the ACDA Endowment and IOWA CHORAL DIRECTORS ASSOCIATION the interest earned from those contributions used to commission great composers to President - Janiece R. Bergland write choral music for our members. Raymond hoped that a few hundred dollars 2534 155rh Street would be given, but I assured him that it would probably be several thousand dollars. Floyd, Iowa 50435 Secretary/Treasurer - Bruce A. Norris He said he would be honored if that happened. 420 Maple Srreet We did not realize then that the amount would exceed $100,000. Indeed, the Mondamin, Iowa 51557 Brock Endowment now has a principal amount of $133,000, and from all indications MINNESOTA it will soon surpass $200,000. A challenge gift of $35,000 was made to the Brock CHORAL DIRECTORS ASSOCIATION Endowment by three of the Endowment Trustees. I am pleased to report that ACDA President - Allan Hawkins 500 Sourh Jefferson Street members have exceeded that challenge, pledging more than $48,000. Donors to the New Ulm, Minnesota 56073 ACDA Endowment Trust now number more than 650 (see page 52 of this issue). Treasurer - Richard F. Edstrom 2305 Winfield Avenue, North To date, four compositions have been commissioned through the Brock Endow Golden Valley. Minnesora 55422 ment and premiered at ACDA division and national conventions. They are 0 for a MONTANA Thousand Tongues to Sing arranged by Theron Kirk; A Time to Dance (Reflections on CHORAL DIRECTORS ASSOCIATION Mortality) by Carlisle Floyd (also performed at the Spoleto Festival, Charleston, South President - Peggy Leonardi Carolina, in 1993, and at the University of Houston in 1995); Sing a Mighty Song by 161 Eastside Highway Hamilton. Montana 59840 Daniel Gawthrop (also sung by the 1995 South Carolina All-State Choir); and Treasurer - John Haughey Alleluia for the mzters by Daniel Pinkham. James Mulholland has been commissioned 2126 Northridge Circle to write a piece to be premiered at each of the 1996 ACDA division conventions. Billings. Montana 59102 ACDA members can be proud that the quality of compositions being commissioned NEBRASKA through the Brock Endowment is of the highest caliber, thus making significant CHORAL DIRECTORS ASSOCIATION President - David H. Moore contributions to the choral repertoire. 12740 Deauville Drive Raymond's mission when he came to ACDA was to build a great endowment for' Omaha. Nebraska 68137 the choral directors of America. Though his work was cut short, its legacy continues to Treasurer - Clark Roush York College live and grow, thanks to his many friends in ACDA. May we all continue to carry out P.O. Box 438 Raymond's vision for both present and future generations. York, Nebraska 68467 OHIO Gene Brooks CHORAL DIRECTORS ASSOCIATION President - Peter G. Jarjisian School of Music. Ohio University Arhens. Ohio 45701 Treasurer - Mark Munson STATEMENT OF MEMBERSHIP College of Musical Arts, Bowling Green State University The American Choral Directors Association is a nonprofit professional organization of choral directors from Bowling Green. Ohio 43403 schools, colleges, and universities; community, church, and professional choral ensembles; and industry and instttutional organizations, Choral Journal circulation: 18,000, Annual dues (includes subscription to the TEXAS Choral Journal): Active $45, Industry $100, Institutional $75, Retired $25, and Student $20. One-year CHORAL DIRECTORS ASSOCIATION membership begins on date of dues acceptance, Ubrary annual subscription rates: U.S. $25; Canada $35; President - Randy Talley Foreign Surface $38; Foreign Air $75. Single Copy $3; Back Issues $4, 3654 Lorna Drive ACDA is a founding member of the Intemational Federation for Choral Music. Odessa. Texas 79462 ACDA supports and endorses the goals and purposes of CHORUS AMERICA Secretary/Treasurer - Cheryl Wilson in promoting the excellence of choral music throughout the world. 9393 Skillman. #122 ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. Dallas, Texas 75243 Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational 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 these laws is President - Kevin Meidl a condition of participation by clinicians and performing groups at ACDA meetings and conventions. 916 Sourh ParkAvenue Neenah. Wisconsin 54956 © 1995 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: 405/355-8161. AJI rights reserved. The Choral Joumal (US ISSN 0009-5028) is issued monthly, except for June and July. Printed in SecretarylTreasurer - William H. Ross the United States of America. 814 West Larabee Street Port Washington. Wisconsin 53074 ~ Second-class postage is paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address &!Press changes to Choral Joumal, Post Office Box 6310, Lawton, Oklahoma 73506-0310. Volume Thirty-six Number Two
PAGE 2 CHORAL JOURNAL I FROM ACDA THE PRESIDENT OFFICERS
PRESIDENT Lynn Whitten y purpose here is to restate last month's plea regarding reinvigorated study College of Music. University of Colorado and enlivened performance of our vast choral heritage. In the August issue Boulder. Colorado 80309 I discussed how ACDA's committee structure could impact literature stan VICE-PRESIDENT dards; this message also pertains to how each of John Haberlen School of Music. Georgia Srare University us can affect the quality of repertoire. While University Plaza fighting for the very life of our art in local school Arlanra. Georgia 30303 districts and at the national level, too many of PRESIDENT-ELECT Jim Moore us are ignoring the substantive musical legacy School of Music. Easr Texas Baptist University that made our art great. Marshall. Texas 75670 A majority of respondents to the 1995 Na TREASURER tional Convention evaluation form complained Elaine McNamara 1340 South Ocean Boulevard. #402 about the plethora of post-1950s music per Pompano Beach. Florida 33062 formed and the dearth of music from the histori EXECUTIVE DIRECTOR cal past, i.e., from the foundation, the heart of Gene Brooks P.O. Box 6310. Lawton. Oldahoma 73506 our art. Two choirs were lauded for early-music 405/355-8161 • Fax: 405/248-1465 presentations: the Dresdner Kreuzchor, for a CENTRAL DMSION PRESIDENT forthright and wonderfully simple presentation Charles K. Smith of the score (one valid procedure), and the School of Music. Michigan Stare University East Lansing. Michigan 48824 Harvard-Radcliffe Collegium Musicum, for a brilliant, splendid realization of both explicit and implicit aspects of the score, yet EASTERN DMSION PRESIDENT Melinda Edwards always with historical perspective at the forefront. III Glen Cove Drive The following comments are not a history lesson, nor are they aimed at "authen Glen Head. New York 11545 ticity." They are meant to pique your interest in recapturing what too many of us NORTH CENTRAL DMSION PRESIDENT Bruce W. Becker have shelved, whether through jadedness in the struggle, capitulation to what is 12027 Gantty Lane around us, or burial in the glut of mediocre materials marketed as "quick fixes for Apple Valley. Minnesora 55124 the coming Monday." NORTHWESTERN DMSION PRESIDENT Randi Von Ellefson Department of Music. Whitworth College "Try It Again, for the First Time!" Spokane. Washingron 99251 To me this slogan doesn't make particularly good sense for corn-flakes eaters. It makes SOUTHERN DMSION PRESIDENT wonderful sense for choral directors, however, when each successive performance of Kenneth Fulton School of Music. Louisiana Stare University Palesttina's Sicut cervus is more informed than the last and, therefore, always exciting, Baton Rouge. Louisiana 70803 even new. Though it may have been "murdered" a million times, a piece of music simply
SOUTHWESTERN DMSION PRESIDENT does not get stale when it's "tried again, for the fIrst time." Glenda Casey Look at Sicutwith some new perspectives. Perform the second half of the motet along Berkner High School 1600 East Spring Valley Road with the first; shorter points of imitation and homorhythmic writing make welcome Richardson. Texas 75081 contrast to the slower moving and often-repeated points of the first half After seeing the WESTERN DMSION PRESIDENT Sistine Chapel "again, for the first time" sans soot and smut [see National Geographic (May James O. Foxx 1984, December 1989), Life (November 1991)], how could an ultrareserved, sombre 2554 Twain Avenue Clovis. California 93611 timbred, low-key performance seem right? What effects did ambience and acoustics in
INDUSTRY ASSOCIATE REPRESENTATIVE other Palestrinian venues in Rome have on the composer's music? The Julian Chapel Lynn Sengstack organ doubling perhaps? St. John Lateran and Santa Maria Maggiore-boys probably? Shawnee Press, Inc. 49 Waring Drive Have you found all the ternary microrhythms that make the textual rhythm come alive? Delaware Water Gap. Pennsylvania 18327 Have you tried ornamenting the top voice-or all voices in imitation? If you can teach PAST PRESIDENTS COUNCIL singers to scat, you can teach them to ornament Renaissance music. What of instrumental William B. Hatcher doublings or instruments ornamenting and voices not, or vice versa? Though the possibili School of Music. University ofIowa Iowa City. Iowa 52242 ties for affecting informed performance are not endless, they certainly are numerous. What exciting rehearsals and dynamic performances can result! Maurice Casey Elwood J. Keister Walter S. Collins Colleen]. Kirk Harold A. Decker Theron Kirk Get America Singing . .. Again Morris D. Hayes Diana]. Leland Charles C. Hirt Russell Mathis As a follow-up to the music summit discussed in the February 1995 issue of the Warner Imig H. Royce Saltzman Choral Journal (pp. 39-40), representatives from MENC, the men's and women's David Thorsen Hugh Sanders barbershop organizations, CHORUS AMERICA, and ACDA met recently to propose ways ( continued)
SEPTEMBER 1995 PAGE 3 EDITORIAL of combating the shrinking pool of singers in America. A combined thrust is to be made to renew audience singing at public events. ACDA should take an active role. In addition BOARD to unison songs that the public used to generally mow, we choral conductors have some EDITOR interesting repertoire that calls for audience participation, from Baroque chorale-based John Silantien concerted works to Britten's Noyes Fluddeand Hindemith's Frau Musica. Let's use all our Division of Music University of Texas at San Antonio resources to help build a healthy future for choral music-making. San Antonio, Texas 78249 Lynn Whitten 210/691-5680 ASSOCIATE EDITOR Sandra Chapman Fort Madison Junior High School 18th Street and Avenue G Fort Madison, Iowa 52627 FROM 319/372-4687 MANAGING EDITOR THE EDITOR Barton L. Tyner Jr. P.O. Box 6310 Lawton, Oldahoma 73506 About This Issue 405/355-8161 • Fax: 405/248-1465 E CELEBRATE two anniversaries in this issue-Carl Orff and Paul EDITORIAL ASSISTANT Jennifer E. Dielmann Hindemith were born one hundred years ago this year. The texts of Division of Music Orff's masterpiece, Carmina Burana, are placed in historical perspective University of Texas at San Antonio by history professor R. Gordon Goodrum, and linguist John Austin offers invaluable San Antonio, Texas 78249 210/691-5680 advice on the authentic pronunciation of Cm'mina's Middle High German sections. EDITORIAL BOARD MEMBERS William Braun provides an overview of Hindemith's choral output, while Chester L. Chester Alwes Alwes looks in detail at one of Hindemith's miniature masterpieces, Six chansons. Fi School of Music, University of Illinois nally, ACDA's 1995 National Convention is seen from two opposing viewpoints. Sandi 1114 West Nevada Urbana, Illinois 61801 K. Peaslee admires the high quality of performances at the convention but criticizes the Richard J. Bloesch lack of women conductors on the program, the prevalence of white, middle-class, sub School of Music, University ofIowa urban choirs, the lack of ethnic choirs from the U.S. and of middle or junior high Iowa City, Iowa 52242 school choirs, and the convention's focus on men's and boys' honor choirs. Colleen J. Corydon J. Carlson Kirk, on the other hand, describes the breadth of offerings at the convention and 640 Merrow Road Coventty, Connecticut 06238 marvels at the growth that has occurred over the course of ACDA's thirteen indepen dent national conventions, each building on the legacy of the others. Christine D. de Catanzaro School of Music, Georgia State University University Plaza ANew Column Atlanta, Georgia 30303 At its March 1995 meeting, the ChoralJournalEditorial Board voted to initiate a new Kenneth Fulton column dedicated to ecumenical issues related to the integration of faith and music. School of Music, Louisiana State University Baton Rouge, Louisiana 70803 After long discussion of possible titles for the column, it was decided that "Hallelujah!" Nina Gilbert conveyed the spirit and universal nature of the column's intent. We have appointed 7717 Random Run Lane, #T2 Timothy W Sharp, who has many years of varied experience in this area, to the Falls Church, Virginia 22042 editorship of the column. We appreciate his years of service to the Journal as editor of the Mitzi Groom Research Report column and look forward to his input in this new venture. We are Department of Music and Fine Arts Tennessee Technological University anxious to hear your response as we continue to address the needs of our readership. Box 5045 Cookeville, Tennessee 38505 John Silantien Sharon A. Hansen Department of Music, School of Fine Arts University of Wisconsin-Milwaukee P.O. Box 413 Milwaukee, Wisconsin 53201 Musica Practica Request-Choral Festivals Timothy W. Sharp Do you run a choral festival? Have you participated in one that helped define your expectations and 302 Third Avenue, South I ideals of choral festivals? Musica Practica, the Choral Jotlmal column that discusses choral practices and Franklin, Tennessee 37064 philosophies, would like to report on choral festivals and would appreciate facts and opinions prompted by i any of the following questions. How do you solicit choirs to participate? Do you award prizes-why or why Stephen Town I Department of Music not? Does your festival involve judges or commentators-if so, how do you choose them? Do participants I' Northwest Missouri State University hear each others' performances? Are there great artists? clinicians? massed performances? Does your festival Maryville, Missouri 64468 have a purpose, such as recruitment-does it serve its purpose effectively? Who sponsors your festival? If your festival recurs periodically, how has it evolved? What have you learned from your experiences? What COORDINATOR OF STATE NEWSLETTERS would characterize your ideal festival? Richard Kegerreis Please send ideas or questions to Nina Gilbert, 7717 Random Run Lane, #T2, Falls Church, Virginia One Craig Drive : I 22042 {phone/fax: 703/698-7690; electronic mail: [email protected]}. Ifyou would prefer just to send a Huntington Station, New York 11746 note saying ''1' d like to discuss choral festivals," we can follow up from that. 516/222-7447
PAGE 4 CHORAL JOURNAL NATIONAL R&S CHAIRS
NATIONAL CHAIR BarbaraTagg 215 Crouse College, Syracuse University 'if , Syracuse, New York 13244
BOYCHOIR 1996 Festival Music Fest Orlando Darrell Jarnes Florida's Premiere Salem Boys Ch~ir Destinations Music Festival 1320 Capirol Streer, NE Anaheim, CA Salem, Oregon 97303 14 consecutive weekends Atlanta, GA , CHILDREN'S CHOIRS March 7-10 thru June 6-9 Deborah A. Mello Boston, MD 435 Ridge Road Special Newton, New Jersey 07860 Chicago,IL Disney Magic Music Days, Orlando, FL & Anaheim, CA COLLEGE AND UNNERSITY CHOIRS Dallas, TX America Sings Choral Festivals Jerry McCoy Denver, CO Dakota Days Band Festival, Rapid City, SD Department of Music, Oklahoma State University Stillwater, Oldahoma 74078 Gatlinburg, TN International Youth Orchestra Festival COMMUNITY CHOIRS Honolulu, HI National Independence Day Parade, Washington D.C. Bill Diekhoff Los Angeles, CA Thanksgiving Day Parade, Philadelphia, PA 5019 Hermitage Drive Anderson, Sourh Carolina 29625 Minneapolis, MN Rose Parade, Pasadena, CA
ETHNIC AND MULTICULTURAL Myrtle Beach, SC America Starts Here Parade, Philadelphia, PA PERSPECTNES Nashville, TN Peach Bowl, Atlanta, GA RonaldKean Department of Music, Balcersfield College New Orleans, LA Holiday Bowl, San Diego, CA 1801 Panorama Drive Alamo Bowl, San Antonio, TX Balcersfield, California 93305 New York City, NY Hail of Fame Bowl, Tampa, FL JAZZ AND SHOW CHOIRS Orlando, FL Phil Mattson San Antonio, TX Festivals at Sea, call for dates School for Music Vocations Southwestern Community College San Diego, CA , Cresron, Iowa 50801 San Francisco, CA We Offel' You JUNIOR HIGH! St. Louis, MO MIDDLE SCHOOL CHOIRS Transportation Performances Kathy Anderson Seattle, WA Adjudication Activities 1551 Parkview Avenue Toronto, ON San Jose, California 95130 Lodging Awards Vancouver, B.C. Clinics Meals MALE CHOIRS (pending) Virginia Beach, VA , MUSIC AND WORSHIP Washington D.C. Custom Toul'S Carl L. Starn Williamsburg, VA Chapel Hill Bible Church To the destination of your choice 1200 Mason Farm Road Chapel Hill, North Carolina 27514
SENIOR HIGH SCHOOL CHOIRS Janice R. Bradshaw 811 Sixth Street Boonville, Missouri 65233
TWO-YEAR COLLEGE CHOIRS ThomasJ. Stauch Harper College Algonquin and Roselle Roads Palatine, Illinois 60067
WOMEN'S CHOIRS Leslie Guelker-Cone Department of Music Western Washingron University Bellingham, Washingron 98225
YOUTH AND STUDENT ACTIVITIES Scott W. Dorsey Department of Music, Mount Union College Alliance, Ohio 44601
SEPTEMBER 1995 PAGE 5
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by R. Gordon Goodrum
In 1936, Carl Orff (1895-1982) set to music a selection of The feudal society of the Middle Ages tended to be very medieval literature, producing the dramatic work that made his static. One was born into a particular station in life, in a reputation and that still appeals to a broad audience in the Western particular place, and was expected to remain there, as would world today. The collection of poems and songs frorn which Orff one's children and their children after them. In a system, selected his texts, the Carmina Burana, represents a unique body of however, in which primogeniture (the rights of the eldest son) writing in medieval literature. It talces its name from manuscripts left younger sons without land or status, the latter sometimes found in 1803 in a Benedictine monastery near Munich, the became landless knights, either serving another lord in a mili Benediktbeurern-hence the title Carmina Burana, the poems and tary role or traveling in search of excitement to make their songs ofBeurern. More specifically, the title refers to the collection fortunes, sometimes becoming part of a sacking and looting of songs edited by J. A. Schmeller in 1847, the publication avail foray. Many joined the crusading armies for this very reason. able to OdE This article offers a brief overview of the historical Younger sons also went into the Church, sometimes rising to context in which the Carminawere written. very high office if the family were influential and wealthy. The Church of Rome consisted of a vast network of churches, Medieval Society monasteries, religious orders, and other institutions. It consti The poems and songs of the Carmina Burana reach back to tuted a huge bureaucracy in which preferment to a benefice or the High Middle Ages (the eleventh through the thirteenth office was the solution to many an aristocratic problem. centuries) and reflect the culture that produced them. That Rising in the Chutch probably meant involvement in the culture also yielded another type of music and literature. From university-another channel of upward mobility. The univer the knightly aristocracy came the Troubadours in southern sity trained students in one of the professions: law, medicine, or France, the Trouveres in northern France, and the Minnesing theology. Of these, the latter predominated. Throughout the ers in southern Germany. Culturally, these three classes of poets Middle Ages the primary function of the university was to train were cousins, having much in common with respect to social clergy, many of whom became teachers in the universities or status and the way they earned a livelihood. They composed elsewhere. The handful of European universities, however, by and sang their lyrics while accompanying themselves on a no means monopolized education. Some of the most influen simple instrument, typically the lute. Most of them were itiner tial centers of learning were schools within particular monas ant musicians, moving from place to place rather than being teries (such as those at Bec and Cluny in France). attached to a particular court or manor. They shared the uni vcrrsallanguage of the age, Latin. Wandering Scholars Aristocratic sons and daughters were often sent to monaster R. Gordon Goodrum recently retired from the Department of ies and nunneries, even though they might feel no sense of History at the University of Wisconsin-Waukesha. religious calling. Given such lack of motivation, isolation from the outside world, and the sometimes quite rigorous discipline,
SEPTEMBER 1995 PAGE 9 refugees from monasteries were not un trying to make their way in the medieval the disappointment and lamenting over common figures. They were the counter world. A companion to the refugee might lost love, and bitter complaints leveled parts of the landless, footloose knights be an "expellee," a monk who by tem perament, personality, or unfortunate cir cumstance had worn out the patience of his fellows and the Superior. Satire~ humor, cynicism~ It was not always easy to tell who was a bona fide cleric or student. A small part frustration~ anger, of the vagantes, or wandering scholars, were vagabond youths who might know a rebellion~ and smattering of Latin and could obtain a MUSIC credible tonsure, thus passing themselves amorous fantasy are TOURS INC. off as members of the brethren without too much difficulty. The imposture might elements commonly be good for a night's hospitality at a mon astery or tavern. Furthermore, since teach found in the "carmina." QUALITY ers migrated from one place to another INTERNATIONAL and students followed, a large number of CONCERT TOURS scholars were constantly in transit. They at the cruel goddess Fortune. Second, the were on the road going or coming, re anticlerical satire, cynicism, and rebel at freshing themselves at convenient inns or lious feelings are directed not against REASONABLE PRICES taverns where they shared news, gossip, religion per se but toward the Church, music, and story-telling. (They also en especially the upper clergy who were as joyed drinking, gambling, and other more sociated with wealth and power. Satire lascivious pursuits.) Members of this body was a favorite means of expressing this of "wandering scholars" wrote most of anti-establishment rebellion, and it often Call or write today the carmina. (On the other hand, many took the form of parody (for example, of the carmina were the work of legiti the Gospel According to St. Lucre or for our unique l mate clergy, some of them of high rank, St. Silver Mark, or the famous Credo. ) personalized service! all the way up to bishop.) Satire, humor, cynicism, frustration, Goliards and Troubadours anger, rebellion, and amorous fantasy are Much satire and cynicism was directed elements commonly found in the carmina. at the religious orders. The rebellion be These reflect typical student concerns and came institutionalized, and a fictitious or MARK FOSTER responses. The carmina, however, dwell on der was created, the Ordo vagorum, with MUSIC TOURS two basic themes-the pursuit oflove and its own saint, St. Golias.2 The term anticlerical satire. The first theme is char "goliard" came to be applied to these wan 'U' (800) 869-1406 acterized by a great deal of romantic fan dering poets/musicians, and the Carmina P.O. Box 2760, Santa Clara tasy: youthful longing, the onslaught of Burana has survived as the best-known, California 95055-2760 spring and the perennial renewal of life, best-loved example of their work. the idealization oflove and its fulfillment, With respect to romantic love and fan tasy, the goliards differed in several ways from the troubadours, their more aristo cratic cousins, though both were equally • ardent in the strength of their emotions. W pieces The image of woman in the Middle Ages • vascillated between two extremes-the pit foryour h Ir and the pedestal.3 By some she was seen as the source of evil, the daughter of Eve • All new sacred for Fall and Christmas incarnate, the corrupt vessel, while others Call today for your FREE cassette & sampler booklet. viewed her as a source of noble inspira tion, the object of male worship, the pin nacle of virtue and beauty, i.e., ~he 1 (800) 950-1900 feminine ideal. The troubadours wrote and sang of chivalrous love, laboring un der the romantic vision of a lady-love SONOS® Offer expires Nov. 30, 1995 for whom they pined, who was perhaps
PAGE 10 CHORAL JOURNAL remote and unattainable, who, seen Put it in writing, 'tis my will, Of me now. I know I'm dying, through the mist of romance, acquired I would not like it were forgot. Nothing here but bone and hide. noble qualities and great beauty. (In real Patrem-at St. Denis in France, Coeli-of heaven ever think? ity, she otten was the wife of another Good Sir, I had a father once, Nay, but the wine that I could drink. man, trapped in a purely political/eco Omnipotentem in his having, Et ten'ae-there was all my joy. nomic, loveless marriage contracted by Money and horses and fine wearing, Do you think that I believe parents.) Not so for the goliard, who And by the dice that thieveth all things More in Jhesum than in the tavern struck a middle ground between the pit I lost and gamed it all away .... Better love I him who's host and the pedestal. His goals were short Creatorem who made all There, than Christum filium eius. term and his expectations more realistic. I've denied-He has his will Watch the roast turn on the spit, Less romantic in a visionary sense, the goliards were more direct in their lusty, earthy, sometimes coarse, even obscene, expressions oflove. Their painful yearning for love (which also could be delicately and poignantly expressed) aimed at a ful SMOKY MOUNTAIN fillment that was joyously physical. More over, the conquest might provide material MUSIC FEsnvAL 1996 for a boastful composition. The trouba dour tended to concentrate on the court 3 days - 2 nights in and the castle; the goliard was more famil APRIL 19-20 GATLINBURG, TENNESSEE MAY 3-4 iar with the tavern. Both indulged them selves in the pleasures of fantasy. Competition in: Concert Choir Madrl.gal Choir. Men's & Women's Chorus Wine, Women, and Song Show Choir • Jazz Choir The Cannina Burana is a marvelous part of a rich musical and literary medieval heri Festival Director: Dr. W J Julian tage. To the interesting, engaging, delight Director ofBands Emeritus: University of Tennessee. Knoxville fullyrics, Orffhas brought together elements 1-800-553-1032 (423) 693-5470 of Gregorian chant, village peasant dance, Call between the hours of and the lilt of student tavern singing. He 9:00 a.m. - 5:00 p.m. Eastern has melded them into a percussive, almost In our 14th year, our experienced, pennanent staff, insures a smoom primal, pulsating, glorious work. While we running weekend in the heart of the beautiful Smoky Mountains. The mree may choose not to worship the goliards' day festival includes two nights accommodations in a first class Gadinburg trinity of wine, women, and song, we motel; adjudication by nationally known judges; trophies to winning groups; should, especially during this centennial of and plaques to aU participating groups. Orff's birth, enjoy the Song with the spirit and gusto of its original authors. TOTAL COST: $90 per student- (3 days - 2 nights package) $115 per student (4 days - 3 nights package) NOTES I A goliard is dying, and the priest who is Adjudicators will be chosen from the following: Dr. Charles Ball, Dr. Louis BaU, hurriedly summoned speaks words of Angie Batey , George Bitzas, lohn Ribble, Dr. Robert StoU, Dr. David Stutzenberger comfort and urges the good son to recite & Dr. Eric Thorson. his Credo:
That will I, Sir, and hear me now. Areas of Interest; ( ) Show Choir ( ) Concert Choir ( ) Madrigal Choir Credo-in dice I well believe, ( ) Middle School ( ) Jazz Choir ( ) Men's/Women's Chorus That got me often bite and sup, ( ) Elementary School ( ) SenIor High School ( ) Junior HIgh School And many a time hath had me drunk, Weekend Interest ______And many a time delivered me Nmne ______From every stitch and every penny. School ______In Deum-never with my will Ad~ ______Gave Him a thought nor ever will. The other day I took a shirt Phone ______From a ribald and I diced it, And lost, and never gave it back. Mall to: Dr. W J Jullari. 601 Westborough Rd•• KnOXll!lle."IN 37909 If! die, he can have mine.
SEPTEMBER 1995 PAGE 11 And the wine that's clear and green, 'Twould be in Paris, by my soul, And leave me a full pot of wine Orleans, Rochelle, Auxerre, There was a girl there, she was £air.... Which I may to the Judgment bring.... That's the joy that's unicum. Credo in wine that's fair to see, Vitam aetemam 'wilt Thou give, To drink and wench and play at dice And in a barrel of my host o Lord God? wilt Thou forgive Seem to me no such mighty sins .... More than in the Holy Ghost. All my evil, well I know it, Never man I know descendit The tavern is my sweetheart, yea, Amen. Priest, I now am through with't. Ad infimum for a game. And Holy Church is not for me. Through with life. Death hath its pain. Ask thou something else of me.... Remissionem of the bill Too much .... Too much .... Ad caelos will no man go You'll not get that, my dear, for nothing, This agony- Because he aped a holy show. You'll give your hat, or cape or coat.... I'm dying. I to God commend you. But he who sedit by a lass But when I've drunk a good strong wine I ask it of you-Pray for me. And hath his three dice in his hand That leaves me well and warm within, Is in the tavern better set Little I care for peccatol'Um. Quoted in Helen Waddell, The Wandering Than ad dexteram Dei pat/is. Et c01pol'is---the body's lust Scholars (London: Constable, 1927; 7th I'd like well to be come again I do perform. Sir priest, I chafe ed., 1934, reprinted, 1958),210-13.
Venturufwhere I squandered most- At thinking of that other life. 2 Possibly derived from Goliath as a I tell you, 'tis not worth a straw. representation of Satan. And I would pray to the Lord God 3 Eileen Power, "The Position of Women" in Tired of Choirs Who Can't Count? That He will in no kind of way The Legacy of the Middle Ages, ed. C. G. -THE ADDITION SYSTEM ResUJ7'ectionem make of me, Crump and E. F. Jacob (Oxford: Clarendon by Dr. Gary Corcoran So long as I may drench the place Press, 1926; reprinted 1962),401-402. A Complete Counting System for All Musicians Price: $25.00 + $2.50 Sbpg.-includes permission With good wine where I'll be laid, to copy exercises! And so pray I of all my friends -C]- ADDSYS, PO Box 284, Plymouth, NH 03264 That ifI can't, themselves will do't,
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Call for your FREE Catalog, 1-800-239-6294 Pronunciation of the Middle High German Sections of Carl Orff's Carmina Burana
by John Austin
It is difficult to learn and adhere to pronunciation standards We cannot be sure exactly how the monks of Benedikt for singing in any foreign language, but it is especially difficult beuren pronounced these songs when they sang them, but we in a language in which there are no longer native spealcers to can hope that they would at least recognize them if they heard emulate. The pronunciation problems of the Middle High them pronounced as recommended below. The pronuncia German songs in the Carmina Burana begin there; they go on tion of the Middle High German texts is transcribed using to include the question of how the time and place of composi symbols of the International Phonetic Alphabet. For those tion might affect the proper pronunciation of the text. not familiar with these symbols, the following chart gives a In Middle High German, there was no national standard: Modern German example for each symbol used. English is pronunciation, and consequently scribal practice, varied from not used because there are no satisfactory correspondances, region to region, indeed from monastery to monastery. The especially for the vowels. fact that the Codex Buranus was discovered in 1803 in the Bavarian town of Benediktbeuren (where Orff was born in VOWELS CONSONANTS 1895) has led some scholars to assume that it was written [i] ihn [p] Pein down there. But most scholars now believe that textual evi [r] In [b] Bein dence points to either an area in what is now southern Austria [e] beten [t] Tier or perhaps South Tyrol in northern Italy as the place of [!O] Betten [d] dir origin. 1 The time of composition can be assumed to be the [y] Hute [k] Kasse thirteenth century, perhaps around 1230.2 The language or [Y] Hutte [g] Gasse dialect spoken in that time and place can be generally referred [0] Hohle [f] fein to as Middle Bavarian. [ce] Holle [v] Wein The pronunciation guidelines given in this article conform [u] Buhle [w] English "wine" to the generally accepted guidelines for Middle High German,3 [u] Bulle [s] Haus except where Orff has taken over specifically Bavarian forms [0] Sohn [z] Sohn from the original manuscript. The most important feature is [:J] Sonne If] scheinen the replacement of initial dc-> as in "kramer" by
SEPTEMBER 1995 PAGE 15 Modern German Middle High German Particular Problems with the 1. Long, Tense Vowel Short, Lax Vowel Pronunciation of Middle der [dem, de:r] der [dEf] High German dir [di:n, di:r] dir [du] ihr rim, i:f] ir [u] One of the most difficult problems for Meer [me:n, me:r] mer [mEf] people who speak German is the pronun mir [mi:n, mi:r] mir [mIf] ciation of those words that are spelled seht [ze:t] seht [ZExt] (almost) the same in Middle High Ger man as in Modern German, but whose Tugent [tu:g;mt] tugent [tu~nt] wer [ve:n, ve:r] wer [WEr] pronunciation varies in one or more sig wohl [vo:l] wol [WJl] nificant ways. Examples of those differ ences, as they occur in Ca1'lnina BU1-ana, 2. Short, Lax Vowel Long, Tense Vowel are given in Figure 1. A second type of -lich [lr~] -liche [li:x;)] problem involves particularly Bavarian 3. Long Vowel Diphthong forms, for which Bavarian pronunciations die [di:] die [di;)] are recommended (Figure 2). Liebe [li:b;)] liebe [li;)b;)] Finally, in contrast to Modern Ger man, where doubling of a consonant is an 4. Labiodental Fricative BilabialApproximant (English "we") orthographic device used to indicate that weh [ve:] we [we] the previous vowel is short, double con Wange [VaI);)] wengel [wE!);)l] sonants in Middle High German texts ware [vee:f;)] were [WEf;)] indicate consonantal length between vow will [VII] wil [WIl] els. As an example, Modern German 5. Palatal Fricative Velar Fricative (as in "ach") "Geselle" is pronounced [~'zd;)], but Middle High German "geselle" is pro ich [I~] i(c)h [IX] mich [mw] mich [mIX] nounced [~'zEll;)]. This slight difference may be used particularly in careful articu sicher [ZI~D] sicher [zIX;)r] lation of the nasal consonants. Figure 1. The Texts The Middle High German texts are taken from Orff's performance edition; no attention is paid to alternate readings Modern German Middle Bavarian found in other sources. Velar Stop Velar Fricative (as in "ach") 7. "Floret silva nobilis" Kramer [kra:mn] chramer [XfOm;)f] komm [lorn] chum [xum] Floret silva nobilis floribus et foliis. Konigin [lm:mgm] chunegin [XYn;)gm] [fl::>fEt silva mbilis fl::>ribus Et Sliis] Ubi est antiquus meus amicus? Figure 2. [ubi Est antikwus mEUS amikus] Hinc equitavit, eia, quis me amabit? [iI)k Ekwitavit, Eia, kwis mE amabit]
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PAGE 16 CHORAL JOURNAL Festival 500 Sharing the Voices o wi, wer sol mich minnen? An International Festival of Choral Music [0 wi, WEI z:>l mIX mmnCln]
8. "Chramer, gip die varwe mir" Concerts, seminars, provincial touring, pageants. A massed choir performance of Carmina Burana. A touring Chramer, gip die varwe mir venue of choice for 1997. [XfamClf gip diCl VarwCl mIf] die min wengel roete World renowned clinicians and facilitators. An academic symposium on The Phenomenon of Singing. A new [diCl min WEI)Cll f0tCl] interactive forum for song. damit ich die jungen man [damIt IX diCl jUIJCln man] Newfoundland and Labrador. One of the last great unexplored areas of the world. A mystic landscape resonant with the voices of cultures from around the world. A place that is inspiring, beautiful and welcoming. an ir dank der minnenliebe noete. Join us for the 500th Anniversary of John Cabot's historic landfall. Make Newfoundland and Labrador your [an If daIJk dEf mmnClnIiClbCl n0tCl] first choice for a choral experience in 1997. Seht mich an, June 18-29, 1997 [ZEXt mIX an] jungen man! [jUIJCln man] Lat mich iu gevalIen! "11.~U Celebrate~ 500 Years [lat mIX Y geJvallCln] NI:WFOusm.. \NI) k L\Ult.\!Xll! 1'~J7
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SEPTEMBER 1995 PAGE 17 Chume, chum, geselle min, suzer rosenvarwer munt. Repository for historical material [xuma, xum, gazElla min] [zusar fOzanvarwar munt] related to the 70-year career of ih enbite harte din FRED WARING AND THE 10. "Were diu werlt alle min" [IX wbIta harta din] PENNSYL V ANIANS ih enbite harte din, Were diu werlt alle min Materials available to researchers, [IX wbIta harta din] [wEea diu WErlt alla min] music educators and historians include: chume, chum, geselle min. von deme mere unze an den Rin, • Entire music library of [xuma, xum, gazElla min] [v:m dEma mEra untsa an dw rin] Pennsylvanians (6,500 titles) • Radio and television broadcast Suzer rosenvarwer munt, des wolt ih mih darben, recordings (10,000) [zusar fOzanvarwar munt] [dES w::>It IX mIX darban] • Scrapbooks (7,600 pages) tracing the Waring career \920-1984 chum un mache mich gesunt, daz diu chtinegin von Engellant • 7,000 Photographs, 650 pieces of [xum un maxa mIX gazunt] [das diu xynagm v:m EIJallant] original cartoon art. • Business and personal chum un mache mich gesunt, lege an miner armen. Hei! correspondence and records [xum un maxa mIX gazunt] [IEga an minar arman hEi] • Audio and video cassettes also available 18. "Circa mea pectora" For further infomlluion contact: mtJ1J1114? Fred Waring's America Manda liet, Please contact the The Pennsylvania State University [manda liat] A project of the University Libraries ACDA national office at: Special Services Building 1127 Fox Hill Road P.O. Box 6310 manda liet, University Park. PA 16803-1824 [manda liat] (814) 863-2911 FAX# 814-863-2574 Lawton, OK 73506 min geselle [min gazElla] chumet niet. [xumat niat] acfea NOTES Tour Consultants 1 Rene Clemencic, Ca/'mina Bm'ana: Performing ArtsTours Since 1955 Lateinisch-deutsch. Gesamtausgabe del" mittelalterlichen Melodien mit den ELGAR'S dazugehorigen Texten (Munich: Heimeran, THE DREAM OF GERONTIUS 1979), 178; but see also Edwin H. Zeydel, ed., Vagabond Verses: Secular Latin Poems conducted by ofthe Middle Ages (Detroit: Wayne State SIR NEVILLE MARRINER University Press, 1966), 38, where July 18-20, 1996, in Wells Cathedral, England Benediktbeuren is cited as the place of origin. Join Brit\sh and North American singers for two days of rehearsal 2 Clemencic, 178, and P. G. Walsh, Love Lyrics in this beautiful West Country city, culminating in a performance fi'om the Carmina BU1-ana (Chapel Hill: of Elgar's choral masterpiece with a professional orchestra under University of North Carolina Press, 1993), the direction of one of the world's pre-eminent conductors. Xlll. 3 For the pronunciation of Middle High Choral ensembles of any size may participate. Acceptance is by German, see Herbert Penzl, Geschichtliche audition. deutsche Lautlehre (Munich: Max Hueber, 1969), 76-81, and Wilhelm Schmidt, We would be happy to suggest touring possibilities for individual Geschichte der deutschen Spmche. Ein groups before or after this event. Lehrbuch for das germanistische Studium (Stuttgart: Wissenschaftliche Verlags For more information, please contact: gesellschaft, 1993), 230-42. 120 Second Ave S Edmonds, WA 98020 800886-3355 206776-3273 -C]- US Offices: San Francisco, Seattle, New York, Denver, Atlanta
PAGE 18 CHORAL JOURNAL Introducing the Definitive Anthology of Favorite Sacred Classics Sacred Masterwork Vocal Solos for Anyone (m' Solo Sin{je?"8 Who Sings or Teaches Singing! ,FavoriteSaered Classics !!Ql'SoloSi-ngers
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C. F. PETERS CORPORATION is proud to be the publisher of these fine works written over the past three decades by one of the fore most composers of choral music in our day.
Motets I to XV: $1.00 each Motet XVI: $1.25
DANIEL PINKHAM Psalm-Motet I: 0 Lord God (ca. 1% minutes) (P6355) Psalm-Motet ll: Why art thou cast down? (ca. 1 minute) (P6366) Psalm-Motet ill: Thou hast loved righteousness (ca. 3 minutes) (P6841) Psalm-Motet IV: Open to me the gates of righteousness (ca. 1 minute) (P66037) Psalm-Motet V: Behold, how good and how pleasant (ca. 1 % minutes) (P66038) Psalm-Motet VI: How precious is Thy loving kindness (ca. 1 minute) (P66100) Psalm-Motet VII: Grace is poured abroad (ca. 2 minutes) (P66297) Psalm-Motet VIII: I have preached righteousness (ca. 1 minute) (P66277) Psalm-Motet IX: Thou hast turned my laments into dancing (ca. 1 minute) (P66568) Psalm-Motet X: The Lord has established His throne (ca. 1 minute) (P66278) Psalm-Motet XI: My heart is steadfast (ca. 1% minutes) (P66708) Psalm-Motet XU: For Thee have I waited (ca. 1 minute) (P66958) Psalm-Motet Xill: The heavens tell out the glory of God (ca. % minute) (P66993) Psalm-Motet XIV: Create a pure heart in me (ca. 1 minute) (P67215) Psalm-Motet XV: A harvest of light is sown (ca. 1 minute) (P67307) Psalm-Motet XVI: Thy true love is better than life (ca. 1 minute) (P67436) C.F. PETERS CORPORATION 373 Park Avenue South, New York, NY 10016 • (212) 686-4147· Fax (212) 689-9412 Music to Sing and Play: The Choral Works of Paul Hindemith
by William Braun
Paul Hilldemith (ca. 1942)
Paul Hindemith (1895-1963) not only enjoyed an active use original modal patterns. Despite the predominance of sca compositional and performing career, he also made important lar lines, they are not easily sight-read because the chromatic contributions as a teacher and author, writing texts on both voice-leading often takes surprising turns. The Lieder nach musical instruction and the philosophy of music. He composed alten Texten premiered at the 1925 Donaueschingen Festival in every musical gente and produced a substantial body of choral and were an instant success. music. It is appropriate this year as we celebrate the centennial Because these songs were too difficult for the average sing of his birth to survey the great breadth of his choral output. ing group, Hindemith turned his creative efforts toward music that could be used by a larger number of choirs. Lieder for Early Successes Singkreise (Songs for Group Singing) was written in 1927, after In 1923, Hindemith wrote his first collection of six choral Hindemith spent a week in a Jugendbewegung camp associated pieces for unaccompanied mixed chorus, Lieder nach alten with Fritz Jade, one of the leaders of the Youth Movement. Texten. This collection was a product of his participation in the Based on texts by August von Platen, Rainer Maria Rilke, and Singbewegung musical movement. Matthias Claudius, these songs are scored for SAB chorus and reflect Hindemith's growing interest in providing simple yet The youth of the time suddenly got all excited about Bach, high quality music for amateur singers. B. Schott's Sohne, the about Schlitz, about Praetorius, about Josquin, and many publisher of Hindemith's works, later issued a collection called others from European history. All at once they grabbed Das neue Werk-Gemeinschaftsmusik flir Jugend und Haus, which the Denkmiiler and complete editions of Eitner's represented the joint efforts of Jade and Hindemith in the publications off the shelves of the library and suddenly creation of additional songs for group singing. "discovered" these things anew for themselves. 1 In 1927, Hindemith accepted the post of composition teacher at the Staatliche Hochschule rur Musik in Berlin and Each of the songs of the Lieder nach alten Texten is varied in undertook a leading role in advancing music education. Dur mood, tempo, and temperament, ranging from a lady's sol ing a discussion with German choral conductors, he addressed emn lament in "Frauenklage" to the rollicking energy of a a problem he saw in contemporary music: a growing gap drinking song in "Landsknechtstrinklied." The musical idiom between composers and audiences. in each piece is not formulated by well-rounded themes but rather by motives that stretch over the whole composition. A composer should write today only if he lrnows for what The individual lines, rarely either tonal or traditionally modal, purpose he is writing. The days of composing for the sake of composing are perhaps gone forever. On the other hand, William Braun is Associate Professor of Music at Wisconsin the demand for music is so great that the composer and the Lutheran College, Milwaukee, Wisconsin. consumer ought most emphatically to come at least to an understanding.2
SEPTEMBER 1995 PAGE 21 describes the text theme as "the evanes character of its parts, offers an and cranny of the schoolyard, the cence of human endeavor in contrast to excellent opportunity for getting orchestra practiced in the garden, the permanent values of the universal into touch with the author's the choir sang in the fields and order."6 Composed in 1931, it is scored individuality, and for admiring his woods. I was busy composing new for SATB soli, chorus, boys' choir, and rich talent and brilliant mastery. pieces and making certain changes orchestra. One analyst, James E. The appearance of Hindemith in on ones I thought were finished. Paulding, finds a new contrapuntal free the musical life of our day is very The youngest students could not dom in this work: fortunate, for he stands out as a read music and were very unhappy wholesome and illuminating that they couldn't tal(e part. The While he relied primarily on principal amid so much obscurity.s only instrument that they had a traditional four-part textures, he chance to play was the lime school also attained a new freedom in Hindemith's last important Gebrauchs recorder in C. There was nothing regard to polyphony.... With its musik work was the Planer Musiktag (A left to do except let them play sweeping vocal lines and gently Day o/Music in Plan). This piece, similar them-and so I wrote them a trio flowing accompaniment, [it] bears to \Vir bauen eine Stadt, is a series of for the opening march of the considerable resemblance to the instrumental and choral pieces for school cantata. 9 vocal style inherent in the oratorios children. He describes the work's genesis of George Frederic HandeU in a speech given at the Greenwich Settle "Advice to Youth" was the centerpiece ment Music School in New York. (approximately sixteen minutes) of the Igor Stravinsky recorded his impressions festival day. It is scored for chorus, soli, of the premiere of Das Unaujhorliche in I came over [to PIon] with some of and orchestra and is based on a sixteenth his autobiography: my students from Berlin, and after century text by Martin Agricola urging a very enthusiastic and impressive young people to become involved with This composition, large alike in reception, we all went to work. music. The characteristics and essence of size and substance and the varied Music sounded from every nook this piece reflect a change in both the style and function of Hindemith's mu sic. Paulding notes: • • For the first time [Hindemith] ,4MERICA?EST II began to accept the responsibility of his nineteenth-century heritage, INTERNATIONAL SINGING FESTIVAL FOR MEN AND BOYS and he discovered that his musical JUNE 29 - JULY 3, 1996 horizon was broad enough to include homophonic as well as At The Campus of Saint John's Abbey, University & Preparatory School polyphonic elements. His attitude CO-HOSTS: THE ST. JOHN'S BOYS' CHOIR toward dissonance also changed INTERNATIONAL CHOIRS IN RESIDENCE considerably and, maturing beyond Tallinn Poistekoor from Estonia his youthful need to shock and Roder Jongenskoor from Holland unnerve his listeners, he began The American Boychoir from U.S.A. thinking more and more in terms Quattro Stagioni Professional Men's Quartet from Norway of tonal centers, and much of his
CLINICIANS music became endowed with a James Litton, Conductor - The American Boychoir certain folk-like quality. 10 Carl Hogset, Master Singing Teacher and Professional Countertenor Phil Mattson, Arranger, Conductor and Vocal Jazz Specialist Political Crisis By 1933, Hindemith had achieved a SPECIAL INTERNATIONAL GUEST CHOIR great deal of international recognition as Masiyile Choir - Soweto, Republic of South Africa a performer and composer, but this status • ApPLICATIONS AND ENROLLMENTS • did not save him from the growing politi Applications and enrollments are now being accepted for choirs of boys, choirs of men or combinations of men cal crisis in Germany. He was labeled a and boys. Small groups of boys or individuals will also be accepted if properly chaperoned. AmericaFest offers • special seminars and sessions for teachers. Academic Credit is available under separate application. • "cultural bolshevist" by the Nazis' Kampfbundbecause of his early works. He FOR INFORMATION CONCERNING AMERICAFEST II - continued to work and associate with his INTERNATIONAL FESTIVAL FOR MEN AND Boys CONTACT: Jewish friends, even though many of the AmericaFest 11- Carol Stewart, Executive Director leading German-Jewish musicians such as 34 Fox Creek Drive· Waukee, IA 50263· 515-987-1405· FAX 515-987-5480 Arnold Schoenberg, Franz Schreker, Otro • All CHOIRS AND CLINICIANS MAY BE SUBJECTTO CHANGE. • Klemperer, and Fritz Busch had lost their PAGE 24 CHORAL JOURNAL positions due to their Jewish associations Each song is structured around one princi was not without danger. The path and ancestry. In 1934, Hindemith's pal melody and employs a homophonic to knowledge was neither straight works were boycotted by the Nazi texture throughout. The accompani nor smooth. Yet today I feel that party's Kulturgemeinde and Reichsmusik ments are musically and technically simple. the new domain lies clearly spread kammer. II Wilhelm Furtwangler, a long The songs are discussed and analyzed at out before our eyes, that we have time friend and ardent supporter of length by Eckhart Richter in the 1968 penetrated the secrets of its Hindemith Jahrbuch where he concludes: organization .... A wider circle of readers will understand, at this first His Silver Burdett songs His Silver Burdett songs along with stopping-place on the road to his other works for children prove complete clarification of both along with his other that serving the musical needs of the contemplation and action, that an young is not beneath the dignity of attempt to explain the music of the works for children prove a great composer but is well worth present day had to be underraken. 14 his time and best efforts. 13 that serving the musical In 1936, Hindemith received an invi During his years of exile, Hindemith tation from Oliver Strunk, Jr., on behalf needs ofthe young is not also wrote a textbook on composition, of Elizabeth Coolidge, who was an ardent Unterweisung im Tonsatz (The Craft o/Musi early champion ofHindemith's music, to beneath the dignity ofa cal Composition). The early decades of the be the featured guest at the Eighth Wash twentieth century saw radical changes in ington Festival of Contemporary Music. great composer. the foundations of music theory, composi In preparation for his first concert tour of tion, and aesthetics. Hindemith felt the need America, Hindemith revised his Lieder Eckhart Richter as a teacher and composer who struggled nach alten Texten. Four of the pieces per with these basic changes to pass on to the formed at the festival were so well re Hindemith's works, published the fa next generation what he had learned. ceived that Associated Music Press mous article "Der Fall Hindemith» officials urged Schott to publish them ("The Case of Hindemith») in an unsuc I have lived through the transition with an English translation. The resultant cessful effort to reverse the forces rising from conservative training to a new publication, Five Songs on Old Texts for up against his colleague. At the end of freedom perhaps more intensely unaccompanied mixed chorus, included 1934, Hindemith took a leave of absence than anyone else. The new land had the revised versions of nos. 1, 2, 3, and 6 from the Hochschule and settled in to be explored if it was to be from Lieder nach alten Texten plus the Lenzkirche in the Black Forest to wait conquered, and evetyone who took 1938 piece Wtzhre Liebe with English texts out the coming storm. I2 part in this process knows that it by Arthur Mendel and Strunk. IS During the next few years, Hindemith continued to compose, but he also de voted a considerable amount of time to music education. He was engaged by the Turkish government to organize a national music school in Ankara. Simultaneously, at the urging of Marshall Bartholomew, the Silver Burdett Company of Chicago liOn a scale of 1 to 10 commissioned Hindemith to write Nine Songs for an American School Song Book. the Tuscany International Children's Chorus Beginning in 1945 the first seven of these 11!/1 songs were published over the course of Festival is an seventeen years in various Silver Burdett Jean Ashworth Bartle, Master Conductor/Clinician, July 1995 song books: Call for Application to the 1996 and 1997 A Rain Song (one-part with piano) Tuscany International Children's Chorus Festival Romance (two-part with piano) July 8 -13, 1996, Doreen Rao, Conductor/Clinician Rain (one-part with piano) July i - 12, 1997, Jean Ashworth Bartle, Conductor/Clinician The Spider's Web (one-part with piano) Thrush Song (two-part with piano) Custom Concert Touring Specialists The Sea Gypsy (two-part with piano) Young and Old (mixed chorus) Musica Mundi, Inc. 18009471991 111 Main Street, Suite 2 • Los Altos, CA 94022 Prayerfor a Pilot (mixed chorus) Phone 415 949 1991 • Fax 415 9491626 April Rain (SSA)
SEPTEMBER 1995 PAGE 25 All Across VI. Song, "0 How Shall I Warble" Apparebit repentina dies, a medieval Latin VII. Introduction and Fugue, "Lo! Body poem describing the last judgment. This and Soul" text is one of the earliest examples of a America VIII. "Sing On! You Gray-brown Bird" poem in which each stanza begins with IX. Death Carol, "Come, Lovely and the next letter of the alphabet, a structure Soothing Death" that Hindemith retained in the cantata. It's X. "To the Tally of My Soul" Hindemith did this by changing some XI. Finale, "Passing the Visions" musical element at the beginning of each stanza. Thus, for "Apparebit repentina Christmas Throughout the forties Hindemith was dies" (the first stanza), he employs an building larger musical structures based on unaccompanied choral texture with a his early works. According to biographer pedal point and rather lyrical, slow mov in the David Neumeyer, the entire Lilacs Requiem ing lines; for "Brevis totus tum parebit" was generated "from a song written in 1943 (the second stanza), a short rhythmic fig ("Sing On There, in the Swamp") ... which ure in a staccato style is used in the voice Southwest. was itself a reworking of a German-lan parts with a sparse instrumental accom guage setting from 1919."19 The falling paniment; "Clangor tubae perquaternas" minor third, an ancient musical symbol (verse three) is set in a homophonic tex for a birdcall (i.e., thrush), is motivically ture. This form is followed throughout significant in the original song and is ex the piece as each stanza has its own tempo, ploited throughout the requiem. It is often texture, or other distinct musical identity. found in a short rhythmic pattern in a line Set for mixed chotus and ten brass in interrupted by rests. In the "Death Carol" struments, Apparebit is divided into four the chorus uses this combination-the fall sections preceded by an instrumental fugue. ing minor third interval now expanded to Section two juxtaposes choral writing, spo a perfect fourth-in the soprano line, un ken narration, and interjections by the derpinned by half-step motion in the lower basses singing the words of Christ. Section three voices (Figure 5). Neumeyer's in three begins with a fast, rhythmic subject depth analysis of the Requiem includes the that leads into a passacaglia section. The formal design, the principal tonalities and instrumental accompaniment stops dur their structural significance on various lev ing a quiet, beautiful passage for unaccom els, the iso-interval chains, and the sym panied chorus. The final section consists bolic use of various motives. Neumeyer of a dialogue between instruments and concludes: voices on a text that implores man to be concerned for those in need. The uncharacteristically tight Hindemith wrote a number of vocal motivic-thematic integration of the canons to celebrate or mark specific oc Requiem is a compound of the casions. To thank those who wished him CONRAD SUSA'S generative method Hindemith used well on his fiftieth birthday, he wrote in its composition and the con Oh, Threats of Hell a four-voice canon Carols and Lullabies sistent mood and recurrent imagery for mixed voices based on a quatrain Christmas in the Southwest of Whitman's text.20 from Omar Khayyam's Rubdiydt. Two other occasional canons include Sine for Chorus, Harp, The oratorio was first performed in New musica nulla disciplina and Musica divina Guitar, and Marimba York City on May 5, 1946, by Robert laudes. The latter "Coolidge Canon" Shaw's Collegiate Chorale-"far and Hindemith wrote as a birthday greeting ·1 away the best choir in the world," wrote for Elizabeth Coolidge while he was SATB Cat. No. 4839 22 TIBB Cat. No. 4840 Hindemith to his friend and publisher teaching at Harvard. 2 Willy Strecker. ! The composer must Hindemith was appointed the Charles have felt a great emotional attachment to Eliot Norton Lecturer at Harvard for the the work since he programmed it numer 1949-50 academic year. One of the re ECS ous times in the concerts he conducted. sults of this lectureship was his book A PUBLISHING Harvard University, sponsoring a Composer's WOrld: Horizons and Limita symposium on music criticism in 1947, tions, which dealt with the philosophical, E. C. Schirmer Music Company invited Hindemith to compose another compositional, practical, and pedagogi Galaxy Music Corporation work to be performed by the Collegiate cal aspects of music. Intended as a book Chorale. Hindemith selected the text that would "be a guide through the little
PAGE 28 CHORAL JOURNAL universe which is the working place of N. Song: "There Is an Angel Deep in three-movement cantata titled Ite, angeli the man who writes music,"23 it was ad My Bosom" velaces. Part one, Triumphgesang Davids, dressed chiefly to the layman. The ("II y a un ange dans rna poitrine") was a joyous song of triumph based on volume closes with words that are as close V. Chorus and solo: "You Men Below" Psalm 18: "I Love Thee, 0 Lord, My as Hindemith ever came to making a di ("Epoux de l'injustice labas") Strength." Part two, Custos quid de nocte, is rect statement of his religious beliefs: VI. Chorus and crowd: "Daughter of more subdued and opens with the tenor Eternal Truth" questioning man's fate: "Trumpet, why do The ultimate reason for his [the ("Fille de la Verite") you call me?" The complete work was pre musician's] humility will be the VII. Chorus and crowd: "Hope, Oh miered on June 9, 1955, in Wupperthal, musician's conviction that beyond all Conqueror of Death" Germany, under Hindemith's direction. the rational knowledge he has ("Destructrice de la mort") Canticle to Hope was the last composition amassed and all his dexterity as a Hindemith wrote as a resident of the U.S. craftsman there is a region of Cantique was premiered at the Brussels visionary irrationality in which the Palace of Fine Arts in July 1953, with A Conducting Career veiled secrets of art dwell, sensed bur Hindemith conducting the huge ensemble With the premiere of Canticle to Hope, not understood, implored but not comprised of instrumentalists from the Hindemith began a conducting career that commanded, imparting but not Orchestre International des Jeunesse Mu occupied the majority of his time for the yielding. He cannot enter this region, sicales and an international chorus. last ten years of his life. He took up he can only pray to be elected one of Claudel and Hindemith added two residence in Switzerland and embarked its messengers. If his prayers are more parts to Cantique in 1955, creating a on a series of European concert tours. In granted and he, armed with wisdom and gifted with reverence for the poco a poco ca/ando p pp unknowable, is the man whom trf heaven has blessed with the genius of ~ . h I. creation, we may see in him the donor I float this car - 01_----- withjoy,_ Wit JOY- ;0 thee._----- 0 Death!------__ Er- schallmein Hymn - nils _ I'all Lllst,_ 1'011 Lllst_ dir ZII._ a Todl __ of the precious present we all long I trf p pp for: the great music of our time. 24 "
;t~_____ eJ ;t-~'~' In 1952 the United Nations Educa flout this car - 01_----- withjoy,_----- with joy_ to thee._ 0 Death!------__ Er- sc/lClllmeill Hymn -IllIS _ 1'011 LIISt,_ I'all Lllst_ elir ZIl,_ 0 Todl __ tional, Social, and Cultural Organization f. trf p pp (UNESCO) asked Hindemith to write a " choral/ orchestral work to be performed ... this car - 01_- withjoy,_ with Joy_ ;0 thee._ 0 Death! __ at a world conference in Brussels. The ------" ... mein HY11111 -lIltS _ voll Lllst,_ I'oll LIIst_ dir ZIl,_ a Todl __ theme of the meeting was to be "The I ~~o....---..~ .. ...---.. ml ...---.. p ...---.. pp Role of Music in the Development of - -- ..... Youths and Adults." Hindemith requested I sing_ withjoy,_ with joy_ to thee._ 0 Death! __ that a leading European poet provide a ... 1'011 Lllst _ 1'011 LIISt,_ 1'011 Lllst_ ,iiI' Zil._ a Todl __ text permitting audience participation. Figure 5. When Lilacs Last in the Door-yard Bloom 'd The renowned French author Paul Copyright © 1948 by Associated Music Publishers, Inc., New York, assigned to B. Schott's Schne, Mainz. Copyright Claudel sent Hindemith a poetic para © renewed. All Rights Reserved. Used by permission of European American Music Distriburors Corporation, sole U.S. phrase of the eighteenth chapter ofIsaiah and Canadian agent for B. Schott's SBhne, Mainz. called Cantique de l'esperance ( Canticle to Hope). Hindemith set the text for mezzo soprano solo, mixed chorus, orchestra, band, and audience. The cantata is set in seven sections: Tour With Your Choir and perform in the Great Cathedrals and Historic Churches. I. Chorus: "Away, Wings Moving • Great Britain • Central & Eastern Europe Swiftly, Away Angels" • Spain & Portugal • Australia & New Zealand ("Allez, allez, ailes rapides, allez We've been coordinating successful concert tours for over anges") 25 years. Travel with the professionals who exceed your expectations for a trouble-free tour. We'll provide you with II. Chorus: "I Was Presented Some customized itineraries and very impressive references. Bitter Bread" ("On m'a donne a manger un pain EDJ). amer") AMBASSADOR TRAVEL SERVICE III. Solo: "What Stupidity!" 148 E. Michigan Avenue/ Kalamazoo, MI 49007 TEL: 800-247-7035 FAX: 616/349-7674 ("La betise de s:a!")
SEPTEMBER 1995 PAGE 29 2 Quoted in James E. Paulding, "Paul States (Urbana, IL: University of Illinois B. Schott's Sohne, 1948),55. Hindemith (1895-1963): A Study of His Press, 1989), 132. (The Bartholomew 10 Paulding, 130. Life and Works" (Ph.D. diss., University diaries are in the archives of the Yale School II Ian Kemp, The New G1"Ove Modern Masters ofIowa, 1974),64. of Music.) (New York: W. W. Norton, 1984),235- 3 Quoted in Geoffrey Skelton, Paul Hindemith: 6 Skelton, 100. 36. The Man behind the Music (London: Victor 7 Paulding, 123. 12 Skelton, 107-24. Gollancz, 1975),86. 8 Igor Stravinsky, An Autobiography (New 13 Eckhart Richter, "'Spide]~ Spider What Art 4 Ibid., 99. York: Simon and Schuster, 1936),266. Thou Spinning?'Paul Hindemith's Songs 5 Luther Noss, Paul Hindemith in the United 9 Heinrich Strobel, Paul Hindemith (Mainz: for American School, " Hindemith-jahrbuch Annales Hindemith (Mainz: B. Schott's Sohne, 1968), 157. PRESBYTERIAN ASSOCIATION 14 Skelton, 144. OF MUSICIANS 15 Noss, 13-20,200. 16 Paulding, 255-58. P.A.M. Resources for Sale 17 Letter from Paul Hindemith to Gertrude Hindemith, July 15, 1940, quoted in • Selected Resources in Church Music and Related Fields-a 26-page bibliography of Noss, 74. articles and books, presented in an easily useable alphabetical format, from 18 Skelton, 219-20. "Acoustics" to ''Textile Art"--$2.00 19 David Neumeyer, The Music of Paul • Wedding and Funeral Music-a 24-page booklet of suggested music that's within the Hindemith (New Haven: Yale University scope of small and medium-sized congregations--$2.50 Press, 1986),216. • Guidelines for the Employment of Church Musicians in Presbyterian Churches--$2.00 20 Ibid., 223. and ... 21 Letter from Hindemith to Willy Strecker, • Reformed Liturgy & Music, is having a new editor's sale! quoted in Skelton, 220. Any four back issues (as long as they last)-$lO.00 Fill in your missing issues, or select issues on specific topics. See the listing of 22 Noss, 149. available issues in your latest issue, or call the RL&M office to request the list. New 23 Paul Hindemith, A Composer's World: Subscribers: Subscribe now and receive the four 1995 issues on the Sacraments plus a Horizons and Limitations (Cambridge, bonus Special Issue on the "State of Reformed Worship" around the world. MA: Harvard University Press, 1952), vi. P.A.M. National Office Reformed Liturgy & Music Office 24 Ibid., 220-2l. 100 Witherspoon St. 100 Witherspoon St. Rm. 2616A 25 Noss, 184. Louisville, KY 40202-1396 Louisville, KY 40202-1396 26 Paul Hindemith, Zwo!f Madrigale (Mainz: (502) 569-5288 (502) 569-5331 B. Schott's Sohne, 1958), foreword. FAX (502) 569-5501 FAX (502) 569-5501 27 Neumeyer, 282. 28 Neumeyer, 25I. 29 Noss, 179. 30 Ian Kemp, Hindemith (London: Oxford University Press, 1970),55-56. ~,~ Director of Music Ministries needed for an WITTE TRAVEL nOD-member church in downtown Royal Oak, Michigan. Full-time Specializing in custom-designed tours for performing groups position. Work with multiple staff. Responsibilities include directing UNITED STATES· CANADA· EUROPE adults, youth choirs, handbell choir. SCANDINA VIA • GREAT BRITAIN Supervise children's choirs, related committees. Send resume and salary 3250 - 28th Street, S.E. requirements to: t\ Search Committee t\ J J Grand Rapids, MI 49512 Royal Oak First Ullited Methodist Church 320 West Seventh Street J J (616) 957-8113 or (800) 469-4883 Royal Oak, MI48067 Tel. 810/541-4100 Wherever you travel, let us be your guide. Fax 810/541-0192 Applicatiolls accepted until October 1,.1995.
PAGE 32 CHORAL JOURNAL CONCERTWORLD Presents International Music Festival Opportunities
HARROGATE WEST SUSSEX April 5 to 12, 1996 April 4 to 9, 1996 March 28 to April 4, 1997 March 27 to April 1, 1997 For over 20 years, the Harrogate International This annual International Music Festival is held Youth Music Festival has been held in Harrogate, in West Sussex and is organized in cooperation with North Yorkshire, a charming spa town located in the the West Sussex County Music Education Authority. heart of the Yorkshire Dales. Each year, as many as Centrally located on England's picturesque southern 1,400 musicians from many countries gather here to coast, West Sussex is one of Britain's most beautiful participate in the Harrogate Festival. Over 60 perfor counties and allows easy access to seaside resort mances are presented in the Royal Hall, the Harrogate areas such as Brighton, Chichester, Portsmouth and Centre (the county's main performance hall) and in the Isle of Wight as well as London, Salisbury and cathedrals, civic halls, churches and stately homes. The Stonehenge. In addition to the main festival concerts historic cities of York, Ripon and Knaresborough, as that are held in Arundel Cathedral, Worthing well as the national landmarks of Fountain's Abbey, Assembly Hall and Worthing's Pavilion-by-the Sea, Newby Hall and Castle Howard are nearby and are other performances are presented in quaint towns used for both concerts and excursions. and villages, seaside resorts and national landmarks.
SHREWSBURY AWESOME ICELAND June 28 to July 5, 1996 January to March, 1996 June 27 to July 4, 1997 January to March, 1997 Each summer, for more than 15 years, over 1000 This is a truly unique opportunity to join with musicians and dancers have participated in the other music ensembles at the top of the world for the Shrewsbury International Music Festival. The Iceland Winter Music Carnival. In addition to a normal stay of a visiting ensemble at this popular full range of performance opportunities, you will festival is five days. Shrewsbury is an attractive Tudor experience this country's majestic mountains rising town in the heart of Shropshire, very close to the from fields oflava and dipping deep into the Atlantic. border of North Wales. Main concerts are held in the You'll see gigantic waterfalls cascading down jagged Shrewsbury Music Hall, Shrewsbury Castle and the slopes from centuries old glaciers. This is a friendly eleventh-century Abbey Church. Additional concerts European island nation with volcanoes, geysers, are presented in civic centers, market squares, churches geothermal pools and fresh water streams. The and schools throughout Shropshire. In addition to the winters are warmer than you can imagine. All your magnificent English and Welsh countryside, among the . performances are hosted by local ensembles. Home interesting places that may be visited include the stay accommodations are arranged for four or five ancient walled city of Chester, Stokesay Castle (the nights. Your stay will include sightseeing, winter oldest moated and fortified manor house in England), sports and much more in this Island of Fire and Ice Ironbridge, Ludlow and Wroxeter, where you can see a rugged yet serene setting for artistic expression and second-century Roman ruins. personal adventures.
Pre and Post Festival Tours, as well as non-festival perfonnance programs can be arranged to broaden the horizons of your international adventure.
For further information, contact: CONCERTWORLD, Ltd., 25 South Riverside Avenue, P.O. Box 388 Croton-on-Hudson, NY 10520 Telephone: (914) 271-9051 • (800) 451-9051 • Fax: (914) 271-9025 CONCERTWORLD (UK) Ltd., 150 Waterloo Road, London SE1 8SE, England Telephone: (071) 401-9941 • Fax (071) 401-9832 1 9 9 6
KEY...... NOT E .r---· ...... ,..,.ds
Choral...... Festival S RES
Jmnes E. Dash Producer
The series provides a unique opportunity for children's choruses to showcase their talent and to combine with other outstanding ensembles nationwide in a festival chorus. Any childrens chorus is eligible to apply. The young artists must range in age from10Jo 16 andmayrepresent a school, church or community chorus. Possible types .of ensembles might include:. treble chorus, girls' chortJs()rboys' choir (unchanged voices). . Audition deadline is October 25th. Paul Hindemith's Six chansons: Genesis and Analysis
by Chester L. Alwes
The choir "Chanson Valaisanne" in Sion, Switzerland.
For Hindemith, art was essentially commemorative, and it thirteenth-century Chateau de Muzot in the canton ofValais,3 was this commemorative quality that defined not only the where he resided until his death in 1927. While living there, technical and spiritual, but also the social function of art Rilke produced his entire output of French-language poems as he conceived it. In the technical area, for example, it is (approximately four hundred). He also made the acquaintance easy to think of pieces by Hindernith which, by quotation, of a local Swiss musician named Georges Haenni.4 In 1939, allusion, or implication, embody musical ideas and Hindemith, who made his home in Valais after he retired from procedures in which he found meaning for the present. It teaching at Yale University, also became acquainted with the is, in fact, virtually impossible to think of any works in Swiss musician. Haenni, who conducted a chorus called the which he deliberately cut himself off from the technical Chanson Valaisanne, made Hindemith aware of Rilke's collec lessons he had learned from others.l tion of French poems.5 He wanted Hindemith to compose some settings of these French poems for his chorus. Four days Given the extent to which Hindemith consistently com after showing Hindemith the collection, Haenni received the memorated music of the past through his compositions, teach manuscript of the Six chansons with the dedication "To my ing, performing,2 and theoretical writings, it is appropriate to good friend G. Haenni and his Chanson Valaisanne, from the commemorate his work during the centennial of his birth. Of newer resident ofValais to the older with best wishes."6 Thus, Hindemith's large and diverse output of choral music, the most Hindemith's settings of the French poems of his German coun accessible and popular pieces are the Six chansons (1939) with tryman are a symbol of the affection that both he and Rilke felt texts by the German poet Rainer Maria Rilke. This article for the Valais countryside that became their refuge. discusses the genesis of these pieces and how they reflect the larger historical context ofHindemith's art. Texts The texts that Hindemith chose are talcen from a collection Genesis of the Chansons of French quatrains written by Rilke in 1924. The poet's pride Both Rilke and Hindemith were exiles by choice, both in the quatrains is demonstrated in a letter dated August 18, driven from Germany by their opposition to war. Rilke initially 1924, to Nanny Wunderly-Volkart: "The Valais quatrains fled to Italy but was forced in 1919 to undertake a lecture tour dedicated to the [canton of] Valais-which I would use to in Switzerland to bolster his income. There he gradually found support my future claim for Swiss nationality; I cannot better support and encouragement. Ultimately, Rilke settled in the prove that I have this country in my blood."? Rilke's collection, titled Vergers, contains fifty-nine quatrains. The six poems that Chester L. Alwes is Associate Professor of Music at the University Hindemith chose are not contiguous but are drawn from vari of Illinois at Urbana-Champaign and is a member of the Choral ous parts of the collection. Taken as they appear in the order of fotlmalEditorial Board. their publication in Hindemith's set, the poems are:
SEPTEMBER 1995 PAGE 35 1. "La biche," Vergers, no. 578 ("La the concluding poem as a paradigm both "Printemps" is identical to that of the biche"9) of the collection of poems as a whole and second strophe of "La biche" (cdccd), 2. "Un cygne," Vergers, no. 40 of the adopted land he, like Rilke, had while that of "Verger" follows the rhyme 3. "Puisque tout passe," Vergers, no. 36 come to love. scheme of "En hiver" (abab/cdcd). 4. "Printemps," Vergers, no. 44 ("Prin The six poems contain several struc 5) The scansion of the French poems temps I") tural traits in common as well as some appears somewhat irregular in poetic feet 5. "En hiver," Vergers, no. 44 ("Printemps dissimilarities: (a free mixture of dactyls and iambs) but VI") 1) Four of the six consist of only two more regular as to quantity, normally hav 6. "Verger," Vergers, no. 29 ("Verger III") strophes; only "Printemps" and "Verger" ing seven accents per couplet. For ex depart from this standard, each having ample, "La biche" scans as follows: Clearly, Hindemith pairs chansons four three. VV -\"I V -vu- and five because their poems are parts of 2) Of the four poems containing two G la biche: que! be! interieur a the larger subset of poems known collec strophes, the simplest are "Puisque tout uv-vv-v v d' anciennes fort~ts dans tes tively as "Printemps" and their titles passe" and "En hiver," each containing denote the contrasting seasons of spring just quatrains. Their rhyme schemes yeux abonde; b and winter. Likewise, the first and sec (abba/cdcd and abab/cdcd, respectively), combien de confiance ronde b ond poems are related topically; both however, are not identical. v -...... - titles refer to animals, the doe and the 3) The first two chansons comprise melee a combien de peur. a swan. No reason can be deduced for the other two-strophe poems. Of these, v v- v - u v - v Hindemith's choosing the texts of the "Un cygne" has two, six-line strophes with Tout ce!a, porte par la vive c third and sixth chanson from their posi the rhyme scheme abacbcl dedfef. "La - vv- v v - gracilite de tes bonds. d tions in the series of poems. Perhaps the biche" is less regular. transition from the two animal poems to 4) Of the three-strophe poems, "Prin Mais jamais rien n'arrive c the seasonal ones is signaled by "Puisque temps" is comprised of five lines per stro a cette impossessive c tout passe" ("Since All Is Passing"). One phe, while "Verger" has four. The rhyme v-vv- - also could reason that Hindemith took scheme of the five-line strophes of ignorance de ton front. d
o Big Spender - Coleman, Fields/Hare - For high school, college and community concert/show/IOZZ chOIrs. 090130 (Novello), S.AIB ••..• 51.50 o 01' Man River - Kern, Hommerstein/Hore - High school/college concert choirs; features full choral voicings. 090230 (Novello), S.AIB •.... 51.50 o The Waterfall - Williams, Martin - Concert/conlest piece for high school/community choruses. A-2012, S.AIB ••.•.••..•...... 51.10 o Three English Carols - orr. Porterfield - Here We Come A-Coroling • Goa Rest Ye Merry Gentlemen. Deck the Halls. 0-473, 3·Port Mixed •...••...••.• 51.25 o Come Sail Away with Me - Williams; Schubert/Lorson -Schubert's La Serenoae with originoltexl. 0-481, 3·Port Mixed ...... •...• 51.10 o Two Israeli Folk Songs - orr. Gallina -Two best-known folk songs. 0·476, 3-Port Mixed ...... SI.10 o Three Robert Louis Stevenson Settings - Golnno -Three seHings from AChi/J~ Goraen of Verse to original melodies. 0-477, 3-Port Mixed •••.•...... • S1.25 o Kyrie Eleison - Oonnelly/Strid - Middle school-odu~; concert/general use; school/church. EA·190, 2·Port Mixed •..••....•.• 51.10 o The Sandman - Brohms/orr. Gollino -Anew addition to the 'Clossics for Children Series." EA-207, 2·Port Mixed .....•.•.... 51.10 o Three Robert Louis Stevenson Settings - Golnno -Three seHings from AChi/J~ Garden of Verse to original melodies. EA-210, 2·Port Mixed ...... S1.25 o Two Israeli Folk Songs - orr. Gollino -Two best-known folk songs. EA·204, 2·Port Mixed •...•...... 51.10 o The Beggar's Song - orr. Perry, Perry -Arousing tune for mole choruses. C·285, T.B.B •.....••..•..•...•....•...• 51.10 o Three English Carols - orr. Porterfield - Here We Come A-Coroling • Goa Rest Ye Merry Gentlemen. Deck the Halls. (·284, lB ...... 51.25 o Joy in the Morning - Spevocek- Generol, festivol, contest, concert; large chorus Dr smoll ensemble. B·565, S.S.A ...... •. SI.10 o River in Judea - Marcus, Feldman/Leavitt -This gospel-style best-seller-now ovoiloble for women's choruses. B-566, S.S.A ...... 51.25 Please send meONE (1) COpy of each title I have checked above at $.50 each. Pa mentmustaccom an order.limitonecopy . per institution. (Bulk quantities are available from your preferred music dealer or Shawnee Press at retail price.) 0 er expires 12 1 95. Name School/~Crhu-r~.. N'a-m-e------T~'le-p'ho-n-e------Institution Address ______City/Stale/Zip OMy~eck f~or~$'------~is-e-n'cI-o~-'d.------~~--~-'~~~~~~~------Account # ______
PAGE 36 CHORAL-JOURNAL 6) The appearance that the second qua I . • • I•• train has five lines is misleading; it results from the enjambment, albeit with rhyme, 1."La biche" 2. "Un cygne" 3. "Puisque tout passe" 4. "Printemps" 5. "En hiver" 6. "Verger" of lines four and five. AB with accent, the Figure 1. Tonal centers in Six chansons rhyme pattern changes from poem to poem and even from one quatrain to the next. The high degree of assonance, how 3. "La biche" b. "Un cygne" ever, and Hindemith's astute recognition [0, 2, 7J ...----... r., of rhyme and accent in the rhythms of his settings are consistent. [0, 2, 7J Another textual issue is the choice of language for performance. While Hindemith sets the poems in French and his understanding of French prosody is Figure 2. Pitch class 0,2,7 in "La biche" and "Un cygne" clearly impeccable, one is struck by the Copyright © 1943 by Associated Music Publishers. Assigned 1968 to B. Schott's Sohne, Mainz. Copyright © renewed. All Rights Reserved. Used by permission of European American Music Distributors Corporation, quality of the English translations made sole U.S. and Canadian agent for B. Schott's Sohne, Mainz. by Elaine de Sin cay. So natural and apt are her translations, both in their sense and sound, that the chansons seem to suffer very little when sung in English. Indeed, when preparing a performance at the Eastman School of Music in 1982, I ji4' p4 was told by Samuel Adler, who studied de taus ces ar - bres s'e-Ie - ve, ac - com-pag - ne Ie chant de no - tre voix trap bre - ve with Hindemith at Yale, that the com poser preferred them in English. Further more, in the new Siimtliche ~rke, the chansons are titled both in French and Mais a pre - sent com - ment rai re pour te ren -dre mon grand coeur com-ple-men-tai - reo English, and the English text is underlaid directly beneath the music with the French Figure 3. "Printemps" text placed beneath the English in italic Copyright © 1943 by B. Schott's Sohne, Mainz. Copyright © renewed. All Rights Reserved. Used by permission of European American Music Distributors Corporation, sole U.S. and Canadian agent for B. Schott's Sohne, Mainz. type. While these facts should not dis suade anyone from performing the chan sons in French, they certainly seem to give permission, if not endorsement, for p4 [0, 2, 7J performance in English. J'LBiltJ, d' pi Music [7, 0, 2J [0, 2, 7) [0, 2, 7J Ja - mais la terre n'est_ plus re - el - Ie que dans tes bran - ehes, 0 ver - ger blond, Ni The Six chansons are very approach [0, 2, 7J ,--, [7, 0, 2, able by choirs of even modest abilities. I [7, 0, 2J 7J When examined alongside Hindemith's ~ ~ IJ ~ ~~ T I b other unaccompanied choral music-the I' fr n t n 1& &r F r n Id I;J &r 1'8 Iijr qJ 'f Lieder nach alten Texten, op. 33 (1923), plus _ flo - tan - te, que dans _ la den-tel - Ie, que font les om - bres sur Ie ga - zon Zwiilj Madrigale (1958), and especially the Messe fiir gemischten Chor (1963) Figure 4. "Verger" Copyright © 1943 by B. Schott's Sohne, Mainz. Copyright © renewed. All Rights Reserved. Used by permission of the chanson seem simpler and more di European American Music Distributors Corporation, sole U.S. and Canadian agent for B. Schott's Sohne, Mainz. rect in their musical language. They are remarkably consonant, and, though they cannot be described as tonal, they clearly and the third and sixth chansons appear symbolize the swan's reflection by "reflect show a sense of tonal center and a prefer in the same key. ing" the final tonality of the movement (E) ence for triadic harmonies. The tonal centers of the textually with pitches a fifth above (B) and below The pitch centers of the cycle are A, E, paired pieces also generate the important (A). 11 In the same chanson, the last two G, #/Gfi, EJ., and G. The intervallic rela harmonies of the settings. For example, phrases cadence on EJ. (m. 20) and E tionships between these tonal centers not "La biche" opens with the pitch collec (m. 22), the same half-step relationship only are symmetrical (Figure 1) but also tion A-B-E (in theorist Allen Forte's that exists between the tonal centers of the reinforce the poetic structure of the cycle: terms, the pitch class 0,2,7).10 The same textually paired pieces. The pitch class 0,2,7 the two animal poems and the two sea pitch class forms the first sonority of "Un also appears prominently in "Printemps" sonal poems are cast in keys a fifth apart, cygne" (Figure 2), where it may serve to (Figure 3) and "Verger" (Figure 4).
SEPTEMBER 1995 PAGE 37 Figure 5 presents a reduction of the end of the first phrase (m. 4), again trans Another promineIit--feature of this soprano melody of "La biche," showing posed to Q at the beginning of the third melody is its emphasis on the interval of again the pervasiveness of the 0,2,7 pitch phrase (mm. 9-10), and finally on A in the perfect fifth, made prominent in the class. It constitutes the first melodic phrase the penultimate measure of the composi dactylic rhythmic pattern (J n) of the and appears three more times in the six tion. It is also heard, reordered (B, E, F#), poetry. With the exception of the major teen-measure composition-once at the at the end of mm. 3 and 14. third that begins the first and last phrases, all the structural intervals are perfect fifths. The location of the exceptional major third also highlights the fact that the first and last phrases are essentially the same. o t ou doe, ___ what ~ r - ests ap - ear in thine The third phrase, which begins with the a a hi che: quel e I - nes fa - ·ets dans les 0,2,7 pitch class on Q, is clearly related motivically and intervallically to the first [0. 2. 7] [7. o. 2] and last phrases. The second phrase is the only one to omit the 0,2,7 motive, but it ..-'/\ =- p is clearly based on perfect fifths (C#, eJ r r If<' r F#, B), presented in their inverted form ne __ ~---.:1!" e ~s e - ect - ed! What on - fi-dencese - r af-fect - e by as perfect fourths. Hindemith highlights )Ie L,( fez - all - de; com - ien de cOIl-fi - a I - ce ron - G me - /I the significance of the second phrase's
,",eJ [0, 2, 7] If<' digression from the others by doubling it in the bass voice. The repetition of melodic ideas is a hallmark of all six chansons and a clear expression ofHindemith's neoclassic sense sh des, by shades hi 'II, com - bien of formal structure. In "Puisque tout passe" and "Verger," repetition of melodic phrases (and their harmonic accompani [0, ments) articulates the structure of each = =- composition (ABCB in the former, ABA -,,, = . , f -3------1 r----3----, t:I J!P ~ in the latter). Melodic repetition in "En eJ r hiver" receives a varied harmonic treat b me on thy ound - ing course, for so gra - cBe art t ou! Ie par la vi - ve gra - ci - Ii - Ie __ de les Gilds. ~t~s c~mesja - ment and a reduction in dynamics to fit /I the text's meaning. The second strophe of "Printemps" features a repetition of ,",eJ 7] the melodic and harmonic material of -'/I rrf= J!Pt:I the first strophe. Following a contrasting section in the enharmonic minor, the eJ r l/*.;t. r ught to as-tou rd, aught to as - to nd the im - pas- sive pro-f und ~n-a- \ are - ness of hy brpw. final phrase of the first melody returns I lUis rfell TZ'ar- r - ve, riellll'ar- r - ve a cette Om _ pos-ses _ s - 1 e i-gll0- -all - ce de all fr Ill. (written enharmonically) to round off /I the form...... eJ In "La biche" Hindemith explores the [7, 0, 2] [0, 2, 7] '" broader ramifications of his melodic Figure 5. "La biche" structure. Formal cohesion is created as Copyright © 1943 by Associated Music Publishers. Assigned 1968 to B. Schott's Sohne, Mainz. the pitch centers of the four phrases-A, Copyright © renewed. All Rights Reserved. Used by permission of European American Music Distributors Corporation, sole U.S. and Canadian agent for B. Schott's Sohne, Mainz. B, Cft, and A-are the first four notes of the soprano melody following the open ing fermata. A final fascinating aspect of Hinde mith's compositional craftsmanship in the Six chansons can be seen in his part-writ ing and harmonizations. In "La biche" the first and last melodic phrases are har monized by a bass line that steps down an A-major scale from the tonic to the Figure 6. "La biche" supertonic (Figure 6). The soprano Copyright © 1943 by Associated Music Publishers. Assigned 1968 to B. Schott's Sohne, Mainz. Copyright © renewed. All Rights Reserved. Used by permission of European American Music Distributors Corporation, melody of the second phrase is doubled sole U.S. and Canadian agent for B. Schott's Sohne, Mainz. by the bass and accompanied by pedals in
PAGE 38 CHORAL JOURNAL the internal parts and parallel writing at 3 The canton ofValais is located in southern the cadences. The third phrase, like the Switzerland and extends from the upper first and last, is harmonized by a descend Rhone Valley into Lake Geneva. ing bass line moving in contrary motion 4 Paul Hindemith Siimtliche Werke, Band VIL to the soprano. In this chanson, as in the 5-Chorwerke a cappella, ed. Alfred others, the part-writing is simple, effort Rubelli (Mainz: B. Schott's S6hne, 1989), less, and interesting. XlI. 5 Hindemith already knew the German poetry Borrowing from the Past of Rilke, as he had his countryman's The cyclic arrangement ofHindemith's poems in his song cycle Das Marien-Leben chansons (especially six pieces) can be seen (1928, rev. 1943). as a historically informed decision. One 6 Paul Hindemith Siimtliche Werke, xii. thinks immediately of the part-songs of 7 Ibid., 15. Mendelssohn and Schumann, which tend S The numbers are those given the poems in to be grouped into sets of six pieces. The Rilke's Siimtliche Werke, Zweiter Band, ed. use of French texts also leads Hindemith the Rilke Archive (Wiesbaden: Insell Styled For to imitate the spirit and declamation of Verlag, 1957),517-33. Individual Comfort sixteenth-century French chansons. Finally, 9 A separate title is given to this particular Over 50 traditional and modern his use of simple, Classical formal struc poem by the poet. robe designs for leading choirs. tures, as well as canon (in "Verger") and 10 Allen Forte, The Structure ofAtonal Music Dozens of classic colors in other forms of imitation, pays homage to (New Haven: Yale University Press, beautiful fabrics. his Germanic forbears. Regarding this sty 1973). The figures refer ro the number of Contact us today for your free listically Catholic approach in these chan semi tones between the pitches. easy to use planning guide. sons, editor Alfred Rubelli notes: 11 I am indebted to my student James Wells Call: 1-800-537-2575. for this insight. The songs are connected to one 12 Paul Hindemith Siimtliche Werke, xii. another through the binding to 13 Ibid. +!!2RpMA§ gether of opposing styles, stamped ~One Harmony PI.. New London. OH 44851 by individualized rhythmic, har -CJ- WE SALUTE THE NATIONAL MUSIC STANDARDS monic, and tonal idioms. 12
The accessibility of the pieces may reflect the ability level ofHaenni's choir, but it is also a mark of Hindemith's de sire to create music that would be of use to amateur musicians. Rubelli notes the "natural, unaffected" manner of the International Choral chansons and attributes their popularity to their "apparently unpretentious, but very natural, spontaneous" expression. Conductors interested in sampling July 2 - 6, 1996 Hindemith's choral output during the cen Powell River, British Columbia, Canada tennial year of his birth should consider these "most beloved of Hindemith's a Join 25 adult, youth and childrens choirs from around the cappella choral creations"13 an excellent world in a week of concerts, competitions, workshops starting point. and social events on the shores of Canada's magnificent Pacific Coast. NOTES 1 Richard F. French, "Hindemith's Mass For information and application, contact 1963-An Introduction," in Word> and Music: A Scholar's View: Essays in Honor of Don James, Music Director Powell River Academy of Music A. Tillman Merritt, ed. Laurence Berman Box 334, Powell River, B. C. (Cambridge: Department of Music, Canada V8A 5 C2 Harvard University, 1973), 86. Telephone: 604 483-3346; Fax: 604 483-3383 2 He founded the first collegium musicum in the United States at Yale University in Application Deadline November 1, 1995 1945.
SEPTEMBER 1995 PAGE 39 21st Annual CHURCH MUSIC EXPLOSION January 9-14, 1996 Coral Ridge Presbyterian Church Ft. Lauderdale, Florida Joyce Jones Eph Ehly
You're in the midst of a busy church season! HOW ABOUT A CHANGE OF PACE? Come to sunny Florida for a time to sit back and listen to other church musicians share ideas from their ministries, sharpen your musical techniques and fellowship with colleagues from the United States, Canada, Korea and other countries.
Guest faculty include Eph Ehly, choral conducting; Joyce Jones, organ; Mark Hayes, piano; Ray Robinson, adult choirs; Helen Kemp, children'schoirs; Randy Edwards, high school choirs; Donald Allured', handbells; and Donald Randy Edwards Hustad, worship. Joining them willbe talented musicians Ray Robinson from our CRPC music staff. Enjoy concerts during the week pelformed by CRPC's youth and bell choirs and cameo con certs by guest faculty. Participate in a concert of Sacred Clas- sics conducted by Dr. Ehly, Chairman of Vocal Studies at UMKC and a Sunday evening Festival of Praise conducted by Dr. Brian Trevor, CRPC's Director of Music. Additional concert appearances will be given by Dr. Jones at the Ruffatti organ, the Concert Choir of Palm Beach Atlantic College, led by Dr. Robinson and the Incheon Children's Mission Choir from Seoul, Korea.
Refresh your spirit with daily chapels led by Dr. Hustand Helen Kemp and hear Dr. D. James Kennedy share with you how he Mark Hayes began his ministry here atCoral Ridge.
Glean new ideas from four. anthem reading sessions and enjoy the spacious facilities, plentiful food and balmy weather as you refresh yourself for your labors lin music ministry.
For a complete brochure :write to:
Shirley Reymond Coral Ridge Presbyterian Church 5555 No. Federal Highway Donald Hustad Ft. Lauderdale, FL 33308 Donald Allured ACDA Conventions: Stuck in High Gear?
by Sandi K Peaslee
WtlShillgtoll National Cathedral
Spectacular. In a word, this describes the 1995 ACDA Na Accepting tapes of only the very best choirs increases the per tional Convention in Washington, D.C. The many superb formance level of those who are chosen. Since the competition performing ensembles were a glory to hear. The Convention is nationwide, the successful conductors and choirs receive a Planning Committee and its legion of helpers scheduled four great deal of recognition and validation. While this system teen interest and reading sessions and ten concert sessions and definitely recognizes talent, ability, excellent direction, and shuttled the majority of more than four thousand attendees good organization, it also reveals the advantages enjoyed by (more registrants than ever before) between three widely spaced wealthy communities that are able to fund superior programs concert sites. Among the highlights were two wonderful Afri and finance the travel of successful groups to a convention. can-American choirs, the Brazeal Dennard Chorale and the Despite efforts by ACDA convention planners to make Moses Hogan Chorale, both of which performed outstanding program repertoire diverse and the selection of choirs fair, arrangements of spirituals plus other songs from the African certain characteristics of conventions recur from year to year. A American tradition. Attendees thrilled to the experience of preponderance of white, middle-class, suburban communities hearing and joining their voices with the splendid choruses of are represented at both division and national conventions. the armed services. In addition, three exemplary foreign groups These choirs tend to be exceptional high school, college, com were featured on the opening evening of the convention. The munity, church, and professional groups. It is difficult to recall convention in Washington, D.C., certainly helped ACDA at hearing any middle or junior high school performances in tain its goal of encouraging and showcasing the ultimate in recent years at national conventions. Only children's choirs choral sound and repertoire. drawing from large metropolitan areas seem to have any possi The competition to appear at a national convention was at an bility of selection. A choir from a single elementary school all time high; more tapes than ever were submitted for the 1995 cannot compete against such groups. Despite large numbers of convention. The selection process, which has evolved over many gospel choirs across our land, none have been featured at a years, is extremely fair. In the words of Assistant Convention national convention. Few ethnic choirs from within the bor Chair Maxine Asselin, ders of the United States have sung at ACDA conventions. Despite planners' success in attracting high-quality groups to The main concern of everyone involved was that the very conventions, the inclusion of outstanding American ensembles best choirs be selected and that the selection process be from diverse backgrounds may be decreasing. In a world that is completely blind. ACDA prides itself on the evolution of changing at the fastest rate ever imagined, the conventions this very successful tradition. indicate that little really new is happening in ACDA. Seeing many familiar names and faces from past conven Sandi K. Peaslee is a retired Director of Choral Music at tions, the large number ofwhite, middle-class, suburban choirs, Lexington High School, Lexington, Massachusetts. the lack of representation from inner-city school choirs, and no middle or junior high school choirs, one can say that the 1995
SEPTEMBER 1995 PAGE 41 convention did not showcase many new women who sent in tapes? Are there now American faces or new American groups. fewer women in tenure-track choral po Has our organization started to develop One troubling aspect sitions at the high school and college tunnel vision in its quest for excellence? levels than there were five years ago? Are Has the need arisen for us to reassess the ofthe 1995 National the large numbers of women in elemen very selection criteria that have created tary and middle school positions so such excellent-but now somewhat pre Convention was the preoccupied with survival that they can dictable and repetitive-conventions? Are not even begin to think about bringing we stuck in high gear in a narrowing pur wide gap between the one of their groups to an ACDA conven suit of excellence while the country tion? Is it possible that our conventions changes around us? As we approach the numbers ofmale and mirror the diminution in women's job second millennium, will our membership levels and authority that has taken place continue to feel that ACDA speaks to female conductors over the last decade?! them in a relevant fashion? While at the national convention, I performing. began expressing my concern to those I Few Women Conductors knew-and I discovered I was not alone. One troubling aspect of the 1995 Na There were a number of women won tional Convention was the wide gap be Children's Honor Choir; and Charlene dering how this situation developed. Sev tween the numbers of male and female Archibeque conducting the San Jose eral discussions later, I found myself conductors performing. In three and one State University Choraliers. Considering pondering how ACDA sees itsel£ what half days in Washington, twenty-nine the strong position of women in ACDA we expect from our organization, and male conductors led groups of all sizes leadership roles and the large number of how ACDA may appear to many of us and gender makeup. Three women got women members, this lack of balance is in the future. The gender gap seemed on the podium: Jean Ashworth Bartle puzzling. No one I asked could explain interwoven with a much broader issue. conducting the Toronto Children's Cho why so few performing groups had During ACD~s thirty-year history, we rus; Janet Galvan conducting the National women conductors. Were there fewer have reached a broad consensus on what constitutes good choral singing and good repertoire, an achievement of which we justly can be proud. Are we ready to move ahead now that this goal has been attained? Are we ready to rethink our mission and work to foster a sense of community by expanding and promot 8th National Conference on Choral Training ing a wider-based, more multicultural for Directors of Children'S, Girls' and Boys' Choirs program of choral singing that reflects and embraces the rapid changes taking September 29-30,1995 Princeton, New Jersey place in our country? Gerre Hancock, St. Thomas Church, New York Multiculturalism Sue Ellen Page, Trenton Children's Choir Not Addressed Nick Page, in his recently inaugurated James Litton, The American Boychoir publication, The Choral Family Newsletter Lawrence Siegel, Composer (Medford, Massachusetts), proposes that we view all music as multicultural, in cluding that of the Western European tra TWO INTENSIVE DAYS: dition. He feels that we enrich and • Vocal development and choral techniques enhance our musical identity by singing music of other cultures. In the process, • Open rehearsals with the American Boychoir we begin to experience a stronger connec • The American Boychoir sound tion to the global community. • Composing for children's voices We can use the discovery process to start locating and nurturing outstanding For complete information and registration contact: choral groups from diverse cultural back Nancy Plum, Conference Coordinator grounds that would never make it to an The American Boychoir School ACDA convention without our help. By 19 Lambert Drive, Princeton, New Jersey 08540 increasing the amount of potential candi 609/924-5858 609/924-5812 (fax) dates for convention performances, we
PAGE 42 CHORAL JOURNAL can create diversity without sacrificing tacular high school choir made up of stu Hogan after the concert and insisted that quality. There are hundreds of ethnic cho dents from all racial backgrounds. We the young conductor join ACDA so that ruses within our own borders. Perhaps in need to bring groups from within our his ensemble could be considered for the one of the Chinatowns of our great cities own country that represent the finest cho 1995 National Convention. Brooks there is an Asian women's choir that sings ral traditions of the rest of the world. advized the ensemble on fundraising for and dances and sounds just as good as the ACDXs national policies already sup the possible trip to Washington. The Cho Seoul Ladies' Singers from Korea who port this discovery process. An example of rale was subsequently accepted to perform performed in Washington. In south Los this is found in ACDA Executive Director at the 1995 National Convention (it also Angeles there may exist an Hispanic choir Gene Brooks's efforts to attract the Moses appeared at the 1994 Southern Division that sings with a sound comparable to Hogan Chorale to the 1995 National Con Convention).2 that of the Exaudi Chamber Choir from vention. Brooks spends a fair amount of Cuba that was prevented from attending time traveling around the United States Suggestions for our convention by the political situation ferreting out exceptional but little-known Future Conventions between the u.S. and Cuba. Somewhere choirs. In the spring of 1992 he was in Brooks's approach could be a blueprint in one of Out inner-city schools someone New Orleans and heard the Moses Hogan for changing the emphasis in our conven is conducting Bach motets with a spec- group. Impressed, Brooks approached tions from one that features mostly white
AS THE DEER LONGS FOR RUNNING WAr.l~ brRl.:h.nll.::;,~l SAtnO-.~~~
SEPTEMBER 1995 PAGE 43 1.1) a/SOng /jdJ~ SHowcase AT WAlT DISNEY WORlD® RESORT
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. . . KEYNOTE AnTS ASSOCIATES, INC. MAIN OFFICE I 1637.E. ROBINSON ST. / OHLANDO, FL32803 / T 407-897-8181 IF 407-897-8184 iV.lJCHIGAN OFFICE / !'iOn \1'. MAIN ST. / KALAMAZOO, Ml 49009 / T 616-344-9883 J 1"616 382-V322 1- 800 - 5 22-.2213 choral groups from the suburbs to one American Association of University tees, as their primary focus deals with per that encourages a more representative, Women's report, How Schools Shortchange formance issues. The new committee might broadly ethnic mix of outstanding choirs Girls, girls begin to lose self esteem and include choir directors representing all lev from within the country. Furthermore, fall behind boys in math and science. els-children's choirs, junior high/middle an evening of community singing could We in the choral profession also are schools, senior high schools, colleges and feature selected ethnic choir directors and shortchanging women and girls with our universities, communities, and student their ensembles teaching convention-goers constant emphasis on the need to recruit chapters. Each of the seven divisions could one of their own specialty numbers. Cho reluctant tenors and basses into our form a committee that would meet and ral directors could go home with six or mixed choirs. We do our female singers discuss these issues at their 1996 division seven new multicultural pieces and also a great disservice when we tacitly imply conventions. The division committees learn exactly how they should sound and that they are not as valuable as our male would then meet as a full body in prepara how to teach them. The exciting spiritu singers. These young women should be tion for a presentation at the 1997 Na als arranged by Moses Hogan and sung given the chance to shine in their own tional Convention in San Diego. by his Chorale sent people flocking to the honor choir without the distractions as exhibit area to snap them up. It would sociated with the usual nurturing, favor A Choral Community have been a wonderful experience to learn ing, and focusing of attention on the We need to show what singing great one of these arrangements from Hogan tenors and basses that, by necessity, of music from all cultural traditions can do during a multicultural sing. ten takes place in their home choirs. for our divided world. By empowering Another change could take place in To bring us into the twenty-first cen others, we empower ourselves. Looking our focus on honor choirs. This year, tury, I propose that we form a national beyond our traditional, narrow focus, we ACDA showcased not only an outstand committee charged with creating a new should welcome diverse choral ensembles ing men's honor choir but a boychoir as mission and philosophy for ACDA that is from within our country to our national well. For the next convention, we should contemporary with the multiethnic coun conventions and learn their music. Na consider an honor choir for teenage girls try and world in which we live. This pro tional Endowment for the Arts Chair in grades eight through twelve. This is posed committee would not overlap or man, Jane Alexander, in her moving the critical age when, according to an detract from the already existing commit- keynote address on the last night of the convention in Washington, reminded us of what we all know: the power of com munity through the choral art has the power to heal our planet. ACDNs goal should be no less than this.
1996 Central European Opportunity NOTES 1 In her book Backlash: The Undeclared War agaimt Amel·ican Women (Anchor Books, Join with outstanding American choirs and a professional Czech orchestra performing and recording a great masterwork in incredible venues Doubleday, 1991), Susan Faludi has under the baton of Dr. Will Kesling!!! documented the steady erosion of the gains women made in the 1970s. During the last fifteen years, women have lost ground in virtually every segment of American society, ftom leadership positions Hungary, Czech Republic, Poland, Slovak Republic in media organizations to holding national > Tour dates: June 17-28, 1996 offices. In public opinion surveys, women > Program: Requiem- Dvorak > Concert Opportunities: Three concerts and recording sessions with consistently rank their own inequality combined choir, individual choir performances possible both at home and in the marketplace as a primary concern. They see men as trying to retract the gains women have made. 2 A year ago, attendees at the 1994 ACDA > Inclusions for this tour: Round Trip Air fare, Hotels, Average Half Southern Division Convention had the Board Meals, Air-Conditioned Motor Coaches, Sight Seeing as described in pleasure of hearing the Moses Hogan Itinerary, Complimentary Cassette Tape or Compact Disc For Each Chorale because, at the last minute, an Participant, Local Taxes and Service Charges, Final Briefing Packet Argentinean group canceled. Gene Brooks received a distress call asking if he knew of an outstanding choir that could fill in Contact: Reed Newman, Concert Development for the Argentinean group. Brooks had 1532 North 1640 East, Logan, Utah, 84341 the perfect replacement! Telephone: (801) 752-2867 -CJ-
PAGE 46 CHORAL JOURNAL A Walk among the Giants: ACDXs Convention Heritage by Colleen J Kirk
The John F. Kennedy Centerfor the Pelfonning Arts
Some forty-three hundred ACDA members were privileged individuals could have attended the thirteenth independent to attend a superb choral convention in our nation's capital, national convention that took place in Washington, D.C., they March 8-11, 1995. Many of us continue to experience warm would have been surprised, pleased, and exceedingly proud. and exhilarating thoughts as we reflect upon that unusually The stunning national convention that we enjoyed in Wash special occasion. I met many people who were attending their ington was the result of two factors. First, each of the preced very first ACDA national convention, and all of them were ing twelve national conventions represented a step forward in finding the three-and-a-half days positively magical. What riches ACDXs growth and was built upon a foundation laid by were there for them to enjoy! Having attended all thirteen of preceding conventions. Second, the 1995 Convention Plan ACDXs independent national conventions, and having talcen ning Committee, under the outstanding leadership of chair an active part in planning and/or chairing two of them, I am man Lynn Whitten, accomplished (through a miracle of eager to share my observations and thoughts on the Washing- planning) the largest step to date. ton, D.C., Convention. . After returning from Washington, I was fortunate to speak I have observed (but scarcely believed) the steady growth of with two of the three living members of ACDXs original our active membership (now more than eighteen thousand) steering committee-Elwood "Woody" Keister and Warner that has occurred since the meeting in 1958 of seven choral Imig. Both have attended all our national conventions. Allud directors who served as a steering committee formulating plans ing to the genius and diligence of the 1995 Convention Plan for a professional organization devoted entirely to choral mu ning Committee, Imig, ACDXs third National President, sic. This committee was appointed during a meeting of thirty commented, "The convention was utterly fabulous. The com to thirty-five choral directors, which took place at the 1958 mittee took an insurmountable problem and surmounted it!" MENC National Convention. Choral directors were frustrated Keister, our second National President, was equally effusive. during the convention, feeling that too little attention had He called the 1995 Convention "the very finest one we've had!" been paid to choral music. They resolved to remedy the situa The reason for the continuing advancement observed in tion and appointed a steering committee (chaired by Archie ACDA national conventions is undoubtedly the strong focus it Jones, ACDXs first president). The committee's charge was to places on music and its performance. A genuine love for the organize a choral directors association. This initial meeting of choral art-one that has refused to be infiltrated by tangential the group, later to be known as charter members of ACDA, interests-has preserved the high quality of the convention occurred less than forty years ago! If only all seven of those objectives envisioned by our charter members. Their original intent was to emphasize performance of choral music-not just Colleen J. Kirk is Professor Emerita at Florida State University, talk. Thus, we can select from each and every convention Tallahassee. She served as ACDA's eighth National President highly significant concerts and interest sessions. These are a (1981-83). part of our heritage and help to ensure continuing steps for ward in future convention planning.
SEPTEMBER 1995 PAGE 47 In Washington, a broad spectrum of the years ACDA has seen a steady in repertoire was expertly performed. Interest crease of interest by our foreign colleagues. sessions were carefully planned with input In 1975, at our third national convention from ACDA's Repertoire and Standards in St. Louis, we enjoyed an International We've moved to larger Committees. The sessions represented and Night that featured choirs from Bucharest, quarters! illustrated the unique interests of various Romania, and Brazil. When ACDA be segments of our membership. In addition, came a founding member of the Interna two distinct schedules were formulated tional Federation for Choral Music (in lew PIIIJllcllllIJ1I8 one gold and one silver. Each person at 1981), world wide interaction between .. For Choir: tending the convention received a gold or choral enthusiasts grew, and an ever-in silver program and followed the appropri creasing number of conductors from other #696 Babe of Bethlehem ate schedule ofevents. This avoided confu lands began attending our conventions. Arr., Henderson SATB $1.15 #697 How Excellent Is Your Name sion and made it possible for each person Beginning in 1983 preconvention read Robert Wetzler 2-Part $1.00 to carry a printed program that was man ing sessions were scheduled featuring com #698 This Christmas Night ageable in size and weight. positions chosen and conducted by Jay A. Pierson SATB $1.30 Most concerts and interest sessions were visiting conductors of various nationali #699 You Came, Lord Jesus, to presented twice. Concerts took place in ties. Receptions permitted social interac This Place Kenneth Kosch€! SATB $1.15 acoustically superior halls that are well tion among these visitors and ACDA #700 My Lord, What a Morning known landmarks in Washington: the Na members from the U.S. Arr., Hal Hopson SATB $1.00 tional Cathedral, Constitution Hall, and One of the most inspirational aspects #701 Therefore Be Merry the John F. Kennedy Center for the Per of a national convention is the opportu Mark Sedio SATB $ .95 forming Arts. Interest sessions took place nity it affords to "walk among the gi #702 The Lord Is My Shepherd Schubert/Ehret SATB $1.00 in large rooms in the two hotels (Sheraton ants"-to speak with those who have #703 Kling, Glockchen Washington and Omni Shoreham) that contributed so much as teachers and lead Arr., R. Nelson 2-Part $1.15 served as co-convention headquarters. Both ers in ACDA. We feel deep sadness when #704 Hail to the Lord's Anointed hotels were within walking distance ofeach some of those we consider giants are not Garry Cornell SATB $1.30 other. A large number of outstanding ex able to be with us at a particular conven #705 Come With Us to Bethlehem Arr., R. Nelson SAB $1.25 hibits were easily accessible in the Sheraton tion. We wish them Godspeed and want #706 Nativity Carol Washington Hotel. A "choral coach" bus them to realize that their enormous con Robert Wetzler SATB $1.00 service moved conventioneers between ho tributions have enabled so many choral #2037 Yuletide Cradlesong tels and concert sites. musicians to grow and develop into the Leland Sateren SATB $ .65 The breadth of concert types illustrated "giants of tomorrow." Recognizing the #2038 Dakota Nativity Dadee Reilly SATB $1.20 the outreach and concerns of our organi true giants of today, the convention took zation. Concerts represented a broad range great pleasure in honoring Elaine Brown .. Also New: of choral ensembles: children's choirs, on the occasion of her eighty-fifth birth CR-5 Hymns, the Art of, for Choir, middle school choruses, high school choirs, day. Also, we were touched by the audi Congregation, & Narrator, by women's chorales, boychoirs, male en ence response when President John Robert Leaf. Score: $12.95 sembles, college and university choral Haberlen asked those whose lives had been Choral Score: $1.30 each groups, community choruses, oratorio cho affected by Howard Swan, recipient of OR-20 Seven Hymn Reflections for ruses, church choirs, and chamber choirs. the 1995 Robert Shaw Award for Distin Organ by Mark Sedio $9.95 SP-109 Interpretations, Book XII for The convention demonstrated that the guished Achievement in Choral Music, Organ by D. Cherwien $7.95 choral art in our country is being fostered to stand. The response was impressive. in many varied segments of our society. When Haberlen followed this, however, .. Music Packet: Activity of the National Committee on by asking all whose lives had been touched Send $7.50 for Fall Packet. Includes Repertoire and Standards was evident as by one of Swan's students to join those single copies of new choral publica the various committees provided substan already standing, the response was over tions, samples of Music Christmas tial input from the areas they represent. whelming. There was scarcely a dry eye in Cards, plus our new 1995-6 Catalog. This permitted all in attendance to gain or Constitution Hall. We will always remem reinforce an appreciation for the wide out ber the presentation of the well-deserved, ill reach of ACDA. Alumni of many of our prestigious award to Swan's son, who ac A.M.SJ. nation's colleges and universities renewed cepted graciously on his father's behalf. 1599 SE 8th Street acquaintances during special receptions. Those ACDA members who attended Minneapolis, MN 55414 Our convention also was enriched by the Washington, D.C., convention owe a the attendance of choral directors from huge and heartfelt expression of apprecia 'l'!' Toll free: 1-800-SEE-AMSI countries outside the U.S. Those with tion to all who made this stunning con [Local: 378-0027] whom I spoke were extremely compli vention a reality! mentary about the convention. Through -C]-
PAGE 48 CHORAL JOURNAL ACDA STATE PRESIDENTS
July 1, 1995, to June 30, 1997
CENTRAL DIVISION RHODE ISLAND WYOMING SOUTHWESTERN DIVISION Jonathan Babbitr Marcia Patton ILLINOIS St. George's School 1037 Dundee ARKANSAS James IGmmel P.O. Box 1910 Casper, WY 82609 Craig Jones Millikin University Newport, RI 02840 6 Whippoorwill 1184 West Main Street SearL)', AR 72143 Decatur, IL 62522 VERMONT SOUTHERN DIVISION Lori Routhier COLORADO INDIANA P.O. Box 475 ALABAMA Jerrald D. McCollum Patricia Wiehe Wallingford, VT 05773 Carolyn Peck 420 South Marion Street Parkway, #1301 2435 Glenl1ill Drive 1311 Oster Drive, NW Denver, CO 80209 Indianapolis, IN 46240 HunL,ville, AL 35816 NORTH CENTRAL DIVISION KANSAS MICHIGAN FLORIDA Joe F. Dolezal Milton Olsson IOWA Lynne Gadde 2800 Country lane Fine Arts Department J aniece Bergland 6520 Grazing Lane Hays, KA 67601 Michigan Technological University 2534 155th Streer Odessa. FL 33556 Houghton, MI 49931 Floyd. IA 50435 MISSOURI GEORGIA Charles Robinson OHIO MINNESOTA Kevin Hibbard 5828 Harrison Street Peter Jarjisian Allan Hawkins 103 Lakewood Drive Kmsas City, MO 64110 School of Music 500 Somh jefferson Carrollton. GA 30117 Ohio University New Ulm. MN 56013 NEWMEXlCO Athens, OH 45701 KENTUCKY Robert Bean NEBRASKA Frank A. Heller III Heights Cumberland Presbyterian Church David Moore 1412 Carli mar Lane 8600 Academy Road, NE EASTERN DIVISION 12740 Deauville Drive Louisville. KY 40222 Albuquerque, NM 87111 Omaha, NE 68137 CONNECTICUT LOUISIANA OKLAHOMA Dorothy Mutkoslci NORTH DAKOTA Laura Lane janis Dawson 50 Towpath Lane JoAnn Brorson 112 Golfview Lane 8201 SW Thirty-sLxth Street Cheshire, CT 06410 3709 Nortll Tenth Street. #D Covington, LA 70433 Oklahoma City, OK 73179 Fargo. ND 58102 DELAWARE MISSISSIPPI TEXAS Ruth Oatman SOUTH DAKOTA Stacy Weger Randy Talley Department of Music David Barkus 1500 East Third Odessa College University of Delaware 516 Elevenrh Avenue Fotest. MS 39074 201 \X7est University Boulevard Newark, DE 19716 Brookings. SD 57006 Odessa, TX 79764 NORTH CAROLINA MAINE WISCONSIN William Carrol Robert Russell Kevin Meidl Music Department WESTERN DIVISION 76 Hartley Street 916 Somh Park Avenue Brown Music Building Portland, ME 04103 Neenah, WI 54956 University of North Carolina ARIZONA Greensboro James M. !Grk MARYLAND AND Greensboro. NC 27412 Route 4, Box 756 DISTRICT OF COLUMBIA NORTHWESTERN DIVISION Flagstaff, AZ 86001 Stanley Engebretson SOUTH CAROLINA 1275 Twenty-fifth Street, NW, #811 ALASKA Vivian Hamilton , CALIFORNIA Washington, DC 20037 Francis Gloria 122 Cherry Street Steven R. Hodson P.O. Box 86507 Pendleton. SC 29670 811 Hackbetry Avenue MASSACHUSETTS Fairbanks. AK 99708 Modesto, CA 95354 Kay Dunlap TENNESSEE 24 Prospect Street IDAHO Timothy K Ward HAWAII Sherborn, MA 01770 Rich Lapp First United Methodist Church Joseph McAlister 10982 Powderhorn Street P.O. Box 4669 3215 Pali Highway NEW HAMPSHIRE Boise, ID 83702 OakRidge, TN 37813 Honolulu, HI9G817 Hubert Bird P.O. Box 393 MONTANA VIRGINIA NEVADA Keene, NH 03431 Peggy Leonardi john Guthmiller Jocelyn Jensen 161 Eastside Highway Music Department 767 North Los Feliz Street NEWjERSEY Hamilton, MT 59840 Virginia Commonwealth University Las Vegas, NV 89110 James Beil 922 ParkAvenue 96 Village Drive OREGON Richmond, VA 23284 UTAH Basking Ridge, NJ 07920 JimAngaran Claudia Bigler 3060 NW Garfield Avenue WEST VIRGINIA Box Elder High School NEW YORK Corvallis, OR 97330 Penny Saeler 380 South 600 West Sue Fay Allen 203 Motgan Drive, #C Brigham City, UT 84302 11520 Howe Road WASHINGTON Morgantown, \XIV 26505 Akron, NY 14226 Howard Meharg 2702 Field Street PENNSYLVANIA Longview, WA98632 Marian Dolan Department of Music Haverford College Haverford, PA 19041
SEPTEMBER 1995 PAGE 49
REPERTOIRE & STANDARDS COMMITTEE REPORTS
Repertoire Favorites NATIONAL R&S Community Choirs The committee developed a repertoire COMMITTEE ON ANY PEOPLE working with list of "favorites" that was distributed at COMMUNITY CHOIRS independently funded com the breakfast. It is a list of works that have M munity choirs have basic been particularly successful with both au NATIONAL CHAIR how-to questions-questions that are diences and performers. Members of the Bill Diekhoff not asked by those directors who have committee will be happy to share this list 5019 Hermitage Drive an institutional support group behind with you. We are planning to develop Anderson, SC 29625 them. I receive several letters each year two more lists this year: first, short works 8031287-2236(h) asking if ACDA has publications that eight to fifteen minutes in length and, 803/261-3399 (fax) relate to board development, fundrais second, new large works (with or without ing, public relations, and so on. At this accompaniment) . CENTRAL DIVISION Lee R. Kesselman time, our committee has no such items, 1207 Westhaven Drive but we are working on it. One of Out Is Your Choir Listed? Wheaton, IL 60187 goals this year is to provide mini-pack Each division chair has the task of 708/665-6788 (h) ets to deal with such subjects and make maintaining and developing a list of com 708/858-2800, ext. 2552 (0) them available from any member of the munity choirs within the division. This is committee. a large task, and, as committee members EASTERN DIVISION Furthermore, organizations like CHO change, it takes time to get things going Linda Tedford RUS AMERICA already have a solid back again. You can help! See that your divi 135 East Oak Street ground in many of these areas. They have sion chair has listed your choir. The ben Palmyra, PA 17078 often shared their knowledge with ACDA efits from such a list are many, including: 717/838-8607 (h) members by joining interest sessions at our national conventions. For example, 1. tour planning NORTH CENTRAL DIVISION Tom Hall, Maryland R&S Chair for 2. concert coordination Carl Chapman Community Choirs and a board member 3. festival-type concerts with two 2849 Sheldon Drive Oshkosh, WI 54901 of CHORUS AMERICA, spoke at the com or more choirs 414/426~5469 (h) munity choirs breakfast roundtable held 4. library sharing in Washington on the topic "The Mis 5. a friendly colleague to talk to NORTHWESTERN. DIVISION sion of the G:ommunity Choir." These DavidBWless collaborative efforts are always well The state and division R&S chairs can be 146 Warm Springs Creek Road attended, which demonstrates the inter only as effective as you allow them to be. Clancy, MT 59634 est in such topics. Bill Diekhoff, National Chair 406/933-8260· (h) Committee on Community Choirs
SOUTHERN DIVISION William.O .. Baker 95 Crossgate Circle t~The Loganville, GA 30249 404/466-3778 (h) ~rist s sic 404/921-8512 (0) of Jac~son Her ey SOUTHWESTERN DIVISION Charles Facer ANNIVERSARY CAROLS 2804 Catalina Court Angels We Have Heard on High' O. Come All Ye Faithful Jesu. Son Most Sweet and Dear' A Day in a Manger Springfield, MO 65804 The Silent Word' Joy to the World 417/883-4431 (h)
WESTERN DIVISION Curtis Sprenger 2239 Cummings Drive Santa Rosa, CA 95404 707/544-7327 (h) 707/527-4249 (0)
SEPTEMBER 1995 PAGE 51 ACDA ENDOWMENT TRUST
URING the August 1994 The end result was tremendous. As of ACDA has eighteen thousand members. meeting of the ACDA Endow this writing, ACDA members have I believe ten thousand of those would be D ment Trustees, three board pledged $48,031 to match the challenge willing to make a tax-deductible contri members made challenge gifts totaling gift. This amount plus the challenge gift bution of $24 a year, only $2 a month. $35,000 to the Raymond, W. Brock of $35,000 will add more than $83,000 According to fundraising experts, Endowment. After the ACDA National to the Brock Endowment, bringing its participation of over fifty percent is an Convention in Washington, D.C., I con total principal to $133,000. This is a tre impossible goal. I have been part of the tacted more than one hundred ACDA mendous tribute to the numerous ACDA ACDA staff for almost ten years, how members and asked them if they would members, individuals, companies, and ever, and I have seen our members turn each be willing to contact ten ACDA Endowment Trustees who vigorously sup the impossible into the possible. members in their locale. All one hundred port the ACDA Endowment Trust. The endowment seeks to provide fi responded enthusiastically by first mak If you have never given to the ACDA nancial undergirding to support projects ing a personal pledge to the Brock Endowment Trust, I hope you will con of importance to choral directors. If you Endowment Trust and then contacting sider being a part of this exciting under have ideas or suggestions that should be ten ACDA members. Some even went taking. The trust establishes an ongoing considered by the endowment trustees, beyond the call of duty and called fif resource that enables ACDA to reach please share them with me. I look forward teen or twenty. I want to express my beyond the status quo and turn dreams to hearing from you and seeing your name sincere gratitude to each of the ACDA into reality. among the list of endowment patrons. leaders who contacted their colleagues Please join the more than six hundred Ronnie G. Shaw about the endowment and helped make ACDA members who have already caught Director ofDevelopment this campaign a great success. a vision of the endowment's potential.
COMPREHENSIVE LIST of people who have given to patron's aggregate giving and is reflected in Cumulative Giv A the ACDA Endowment Trust follows, with the excep ing acknowledgements. tion of individuals wishing to remain anonymous. This list The nature of an endowment trust is to utilize only the interest recognizes all patrons' gifrs and/or pledges to the ACDA En generated from the principal funds. It is the sum of all patrons' dowment Trust since its inception, in 1987, through July 5, aggregate gifrs that make up the foundation of the trust. Our 1995. The giving levels correspond with those of the Friend sincere gratitude is expressed to all patrons for their past and ship Circle. Each gift to the Friendship Circle adds to the continuing support of the ACDA Endowment Trust.
Bronze Medallion Colleen J. Kirk ACDA Northwestern Division Mark C. Aamot TOTAL Gu'-rs FROM $50,000 TO 599,999 Theron Kirk ACDA Southern Division Vickie Abodeely Gene Brooks Lee and Betty Kjelson ACDA Southwestern Division Charlotte Adams and Dave Stephens Russell Mathis ACDA Western Division Sue Fay Allen and Carl Klingenschmitt Medallion Royce Saltzman James D. Annstrong Neal E. Allsup TOTAL GIFTS FROM S10,000 TO S24,999 Gerald H. Schroeder Sara Lynn Baird Chester L. Alwes Josephine B. Abney Mr. and Mrs. Robert E. Snyder Bellevue Hunting Club Hilary Apfelstadt Lynn Whitten Philip C. Brunelle Anton E. Annstrong Renaissance ZDF Gennan Television Mr. and Mrs. Jon O. Carlson Lonnie Arnold TOTAL GIFTS FROM 55,000 TO 59,999 Clemson University Raymond W. Brock Fund Jean Ashworth-Bartle Phyllis and Louis Batson Romantic Memorial Concert, University of the Ron Atteberry TOTAL GIFTS FROM 5500 TO 5999 Philippines Madrigal Singers Donald L. Bailey Baroque Robert K. and Muriel Baar Dr. and Mrs. Charles S. Graybill Judy H. Baker TOTAL GIFTS FROM $2,500 TO $4,999 Joyce Bearss Warnerlmig Peggy Joyce Barber Carole Glenn Susan Brailove Elwood J. Keister Willa G. Banninski Neil A. Kjos Music Company Conan and Patricia Castle Diana J. Leland Carroll W. Barnes Wesley S. and Elaine Coffman Mary Ellen Malkasian Morris J. Beachy Classical Lynne and Merlin Gackle Elaine and Jack McNamara Bruce W. Becker TOTAL GIFTS FROM $1,000 TO $2,499 Daniel E. Gawthrop Kraig D. and Deborah Pritts Lon S. Beery ACDA Eastern Division William and Darlene Hatcher Doreen Rao Douglas and Unda E. Bischoff Alliance Music Publications, Inc. Charles C. Hirt Jo-Michael and Mary Scheibe· Tina V. Blanchard University Club Ernest L. Hisey Ronnie G. and LaQuita Shaw Jane and Robin Blomquist Maxine M. Asselin Keynote Arts Associates-James E. Dash Dennis Shrock Wendell L Boertje Maurice Casey Dale R. and Alice K. Noble J. Porter Stokes II James A and Sharon Bohart, Sr. Jesse R. Chapman Judge Charles A. and Joann Stokes David Stutzenberger Austin Boncher Coca-Cola David O. Thorsen Jeffrey Vredenburg Allen H. Boyer Mr. and Mrs. Walter S. Collins Wisconsin Choral Directors Association Janice R. Bradshaw Harold A. and Peg Decker Impressionism Thomas L. Britt, Jr. Alfred R. DeJaager TOTAL GIFTS FROM 5250 TO $499 Avant-Garde Ruth B. Brock Philip R. Frowery ACDA Central Division TOTAL GIFTS FROM 5100 TO $249 James A Brown John B. Haberlen ACDA North Central Division Anonymous Phillip L. Buch
PAGE 52 CHORAL JOURNAL ACDA ENDOWMENT TRUST
Gladys Crane Burke Rosemary Heffley Robert D. Penn Janet"Yamron Carl E. Burkel Edna M. Hehn Burt H. and Hazel Perinchief Michael W. Yeager Simon and Hilary Canrlngton Timothy Hein Scott R. Peterson Harmon G. Young III Marilyn CalVer Debbie Helm Daniel Pinkham Anne Zumsteg Glenda J. and Jim L. Casey Sally Herman Maries and Norma Jean Preheim Bruce Chamberlain Robert Dale Herrema Linda Price Foundation Allen and Sandra Chapman Robert S. Hines Milburn and Barbara Price TOTAL GIFTS UP TO S99 Charles Chapman Richard and Laura Hintze Milton Pullen Anonymous Amy Chivington Steven R. and Rebecca L. Hodson Jonean Ratliff Lester E. Ackerman Ronald and Bonnie Chronister Moses Hogan RobertJ. Ray Jerry Ann Alt Jacquelyn Cocke Lara G. Hoggard Norma Raybon Ike H. and Annie Ambrose, Jr. Stephen Coker Robert A. Holquist Ruth P. Red E. Jason Armstrong Susan W. Conkling Hal Hopson Joel F. Reed Craig S. Arnold Lee Cooke John D. Horman Susan L. Reid Barbara W. Baker Robert Cooper Helen M. Hosmer David J. and Nancy T. Riley John L. Baker Bill Cormack Richard F. Householder Cecil J. Riney William O. Baker Jeffrey M. Cornelius James W. Hudson Laura L. Ritter D. Brent Ballweg Duncan Couch J. Edmund Hughes Earl Rivers Timothy P. Banks Kenneth and Nancy Cox John Hutton B. Andrew Roby Donna T. Barnett Richard Cox Illinois ACDA Stanley E. Romanstein Brad Barrett Lynda U. Crane Joshua R. Jacobson Marcia R. Roy Stephen E. Barton Cathy Crispino David M. Janower Mary Jane Royal Diana M. Battipaglia Allen Crowell Gary C. Jaquay Robert M. Rucker Barbara C. Beattie Stephen G. and Judy Dardaganian Kathleen A. Johnson Paul Salamunovich Timothy Berlew Ned R. DeJournett Robert M. Johnson Louis Scaglione Barbara L. Berner DeKalb International Choral Festival- Terre Johnson Dennis Schafer, OFM Irene M. Black Bill Hardman Marilyn Jones Sally Schott Leslie J. Blackwell Betty Devine Jerry and Jean Jordan Barbara Schrader Donna S. Bloom Jena Dickey Lawrence Kaptein Dan Schwartz Connie E. Bloomer John H. Dickson Penelope M. and Lee W. Keene Rolland H. Shaw J. C. Boehm Charles Dimmock Robert P. Keener Cynthia C. Sheppard Donna J. Bogard Scott W. Dorsey Richard I. Kegerreis Dale J. and Ruthann Shetler Frances M. Bonn John E. Drotleff Kenneth B. and Mary Ellen Kelley Beth Brown Shugart Hanrlson C. and Patricia Boughton R. Paul and Suzanne Drummond John S. C. Kemp John Silantien Blanche F. Bowlsbey Donna Dugas James Kimmel Hanrlet R. Simons C. Randall and Brenda Bradley Dede Duson Tim King Charles K. Smith Lynne Bradley Joanne Edwards Paul T. Klemme HalVey and Dorothy Smith Frederica Braidfoot Melinda Edwards Josef W. Knott Michael Smith Mary C. Breden F. Edward Ehlers Andrew C. Koebler Thomas R. and Gayle Smith Henry E. and Betty K. Brock Eph Ehly Carol A. Cook Koenig Karen A. Soderberg Jonathan Brown Richard A. and Mary A. Eichenberger G. Roberts Kolb Clayton Southwick Jane E. Bruer Rodney Eichenberger Vickie P. Krutzer Don M. Sowers Vema M. Brummett Peter Eklund Donald P. Lang Richard A. Sparks David L. Brunner Bradley and Karen Ellingboe Larry D. Larson Carl L. and Doris Stam Carol A. Bryant John Ellis J. Reilly Lewis Thomas J. Stauch Robert H. and Eleanor Burley Robert H. and Alma Ellis Hardy D. Lieberg Robert Stovall Margaret Anne Butterfield Mary E. English Susan Liegel Eva Mae Struckmeyer Kenneth Cantrell Linda Ferreira Wallace H. Long, Jr. Catherine E. Sutherland Horace Carney Carl Fischer, Inc.-Barry O'Neal Clara Longstreth Barbara Tagg William P. Carroll Miles Fish Angie Mankin Randy Talley John Carter Ken Fleet Mark Custom Recording-Mark Marette Andre J. Thomas Cathy C. Cassel Joseph R. Flummerfelt Richard McAlister Elmer and Mary C. Thomas Joe Catanesi Anne Folsom Craig McCauley Kenneth B. Thomas Wayne Causey A. lIVing Forbes Jerrald D. McCollum Randal D. Thomas Carmen Cavallaro Jeffrey B. Fowler Jerry McCoy Paul Torkelson Carol G. Christopher James O. Foxx Stan McGill Stephen Town Nancy Cobb Terrell Freeman Howard Meharg Charlotte M. Tripp Sylvia E. Coffey Patrick K. Freer Phyllis J. Menrltt Don and Carol Trott Aryell and Maxine Cohen James and Barbara Fritschel Michigan ACDA Constantina Tsolainou Ronald H. Cohen Kenneth Fulton Charlotte H. and William J. B. Miller David A. VanderMeer Rinda Coleman Sonya C. Garfinkle Judith W. Miller Bruce Vantine Connecticut ACDA Elizabeth A. Geer Thomas A. Miller Polly and Burt Vasche James M. and Jane A. Copeland Wanda Praytor Gereben James A. Moore Joe B. Vickery Wallace W. Cox David E. and Cynthia Gillespie Martha Ruth Moore Dalia Viskontas Karen L. Craft Debra L. Glaze Virginia Moravek Randi Von Ellefson Bill Cromer Sandra Glover Julie Morgan C. Richard Wagner Eileen Curry Lauretta Graetz John C. and Suzanne Morse Barbara J. Waite Dr. Stanley Custer Joan E. Gregoryk Don V Moses Rod Walker Rose Dwiggins Daniels Jane Dilling Griffith and Jewell K. Griffith Charles W. Nelson Jerry L. and Dorothy Warren Galen P. and Patty Darrough John R. Grigsby Donald L. and Lisa Neuen Janet A. Westrick Ruth E. Datz Joseph D. and Mitzi Groom Donald W. Nixon Marty L. White Daniel Dauner Michael and Leslie Guelker-Cone Weston H. Noble Mack Wilberg Alycia K. Davis Jackie Hails Teresa J. Nonrls Sandra M. Willetts Desiree Maureen Davis William D. Hall Shirley B. Nute Merl Winslett Sharon A. Davis Vivian L. and David Hamilton William N. Osborne John Woicikowfski Edward Deckard Cicero M. Hardwick Gordon Paine Dan L. Wood William R. Denison Alan Harler David Patrick Betty B. Woods Brazeal W. Dennard Eugene Hattaway Martha J. Patterson Kay E. Wunder David DeVenney MOnriS D. Hayes William A. Payn Larry D. and Susan C. Wyatt Sheldon Disrud
SEPTEMBER 1995 PAGE 53 ACDA ENDOWMENT TRUST
Alice H. Dodson Anne M. Harman Anna C. Lange James Schuppener Lamar A. Drummonds Nancy Hart Deborah Lee Gary Schwartzhoff L. W. and Barbara Duncan Martha (Susie) G. Hautala Terry and Louise Lehman Betty C. Scott Phillip G. Dunn Billie E. Hegge Frann Liberty Stan Scott Paul Edmondson James Hejduk Peggy A Licon Jim Eo Sheppard Chadwick J. Edwards Mark A. Henderson Patrick Liebergen Lewis R. and Georgia B. Sherard Robert Engle Ruth W. Henderson Mike Linder Michael Short Garrett W. Epp Steven E. Hendricks Elizabeth B. Link Thomas E. Sibley Jan E. Esthus Nora Henson Robert C. Link Pamela L. Simpson Mary E. Felicetta Kevin R. Hibbard Kenneth L. Liske MarkSirett Christine J. Ferguson Don F. Hicks L. Brian Listerud Kent Howard Skinner Diane H. Flood Wallace Hinson Thomas Lloyd Deborah A. Smith Marta Force Lawrence Hoenig Thomas A. Lloyd James A. Smith Kenneth R. and Alice Foutz Harriet R. Holman Sherri D. Logan Kathryn E. Smith Janet E. Fox Richard Honea Pamela A. Love Kathryn L. Smith William H. Fox Dan Hood Timothy L. Lutz Stanley Smith DeeAnn Freeman Martha F. Houston Mary E. Lycan W. Allin Sorenson Paul French George A. and Joan C. Hutto Donna L. Maddox Ethelyn M. Sparfeld Kevin and Joni Fujii Phyllis and Lou Isaacson Marjorie Malone David L. Spencer Noel Fulkerson Darrell James Mark Hugh Malone Merry Carol Spencer Charles L. Fuller Joyce Holder Jaxon Steve Marlson D. Joanne Spivey Karen Fulmer Craig Johnson Vito E. Mason Debra and Alan L. Spurgeon Betty Funderburk James W. Johnston William F. Mayclin Melissa Stamenkovic James S. Gallagher Meri Beth Jones Joseph McAlister Charles W. Steele TomT.Galt Shin E. Kang Joan E. McFarland Jane B. Stelling Diann M. Gardner Ron Kean Robert McKinnon Gloria J. Stephens Jamie Council Garvey Errol W. Kehrberg Jerry McManus Louise C. Stevens Suzanne Gates Joyce Keil Paul McNeef Janet H. Steves Bruce A. Gerlach Robert A. Kelly Susan McQuade David Stocker Pamela E. Getnick Nancy Kerr Mark L. and Patsy T. Mecham Thomas H. Stokes Sam G. Gilliam, Sr. Kenneth Kilgore Carol Menke Robert Strassburg Walter Gould Marilyn R. Killian JudyM. Merritt Mike and Melissa Lock Straw Janet H. Graham Elizabeth Kimble Ansel E. and Sharon Miller Frederick Stroup Nancy L. Graham Bryan King Carolyn Minear Charles A. Sundquist Reynolds Greene, Jr. Susan Klebanow James E. Mirakian Richard D. Sundquist Karen S. Greenhalgh Youngsun Koh Thomas E. Mitchell Edwin R. Taylor Linn W. and Kurt Gretzinger William J. Korinek John G. Morgan Jean E. TerHark Laura B. Griesemer Diane K. Koshi Martha Frances Morgan Patricia J. Terry-Ross Les Robinson Hadsell Mary Ellen Krell Richard Morgan Reginald and Yvonne Thackston Charles F. Haigh David Kevin Lamb Pamela C. Morris William L. Thomas Karen Haines Richard F. Lampe Phillip J. Morrow Eric A. Thorson Rosalind !:lall Robert L. Landis Donald E. Morse Angela R. Tipps Tony A. Mowrer Diane Tobola Patricia Muller Dorothea Waddell Tonnesen Christopher Munn Yvonne Troedson Vivian C. Munn Catherine Trtek Martha M. Murray Sherry Upshaw Minister of Music Mark A. Nabholz Bingham Vick Eileen D. Nichols Walter E. Volkwein Lynn E. Nichols Barbara S. Walker hree-manual Rodgers combination pipe-electronic Lisa Nolan Robert Warden burg James Nord Sharon R. and W. Frank Warner T organ; Shulmerich handbells (2 octaves). One service, Elizabeth H. Norton John Warren 10:00 A.M. Some extra seasonal responsibilities. Adult Donald Oglesby Cathy W. West Juli O'Mealey Dan White Choir, rehearsals on Thursday evenings. Develop Michael O'Neal Robert C. White children's choir program and handbell program. Weddings Patricia O'Toole Loren Wiebe Jong-Won Park LoriJ. Wiest and funerals with the first right of refusal. Other Gene Patrick Billy L. Wilbourne responsibilities include staff meetings and annual choir Carolyn Paulin David Williamson Barbara Perkins Doris Wilson and instrumental concert. Bill Perring CarlR.Winn .:, Steve Pilkington Susan C. Winn Salary: $26,000, negotiable, commensurate with Michael L. Pittard Jane R. Woody education and experience. Benefits include medical and George O. Pranspill Gary Wright Julie G. Pretzat Linda Yarnell pension. Housing available. Edgar D. Quaid John Yarrington Contact: Fax resume to Mr. William K. Brandt, 2031 Dan and Barbara Rash Stan W. Yoder John A. and Karen Ray Teresa M. Young 622-4416, or mail by September 30, 1995, to: David C. Rayl Young Naperville Singers B. Regies Helen Grubbs, Director Marilyn Rhea Richard; Zielinski Robert S. Riker David A. Zuschin Thom Robertson Loretta Robinson Every effort was made to ensure that all donors to the Betty G. and Wayne Roe ACDA Endowment Trust were listed accurately. If. however, Bill Rotan you have made a gift to the ACDA Endowment Trust and Robert J. Russell your name was omitted): misspelled, or listed incorrectly, please Tim Russell accept our sincere apologies and advise us of the error by Paul Rusterholz contacting the Director of Development at the ACDA na Mia Savage tional headquarters. Randy Schott -CJ-
PAGE 54 CHORAL JOURNAL HALLELUJAH!, Timothy W Sharp, editor
Prelude to a New faith communities are exercised-namely, schools, and universities? How can such an Choral Journal Column grace and forgiveness. event take place, and what is the result? HE INAUGURATION of a The board of musicians and chaplains new Choral Journal column dedi A New Hymnal for who aided in the preparation of A New T cated to issues related to the in Colleges and Schools Hymnal for Colleges and Schools are associ tegration of faith and music should be met s MUCH AS the title A New ated with Cornell University, Mount with interest by all readers and with spe Hymnal for Colleges and Schoof} Holyoke College, Princeton University cial interest by choral musicians who A sounds like an enticing header for and Theological Seminary, Vassar Col practice their craft in synagogue, church, a column, this is actually the name of a lege, Yale University and Divinity School, cathedral, mosque, or open space. The new, interdenominational, ecumenical col and the Roman Catholic Cathedral of the mission of this column is to write and re lection of more than four hundred hymns Holy Name in Chicago. This new hym port, with an ecumenical bias, on sacred and one hundred psalms published by Yale nal had a predecessor in the Hymnal music issues that are global in scope. The University Press in association with the Yale for Colleges and Schools, published by Choral Journal Editorial Board has offi Institute of Sacred Music. The publication Yale University Press in 1956. The new cially adopted this mission for the new of a new hymnal is always news. Agreement hymnal is edited by Jeffery Rowthorn, column, titled Hallelujah! upon a corpus of hymns to be sung by a hymn writer and liturgist, and Russell Several important cultural issues affect defined community is no small task in it Schulz-Widmar, church music professor. church musicians at this particular mo self, often causing theological, stylistic, and The editorial board consists of Harry ment in time. These issues currently in liturgical debate. Less debate occurs if the Baker Adams, Frederick H. Borsch, Mar clude the following: congregational hymnal is issued by independent publish guerite Brooks, Margaret Irwin-Brandon, singing practice and literature, commer ers. But what about a unique publication Robert Johnson, Richard Proulx, Allison cial publication and distribution trends, such as a hymnal designed for colleges, Stokes, and David Weadon. the decline of mainline denominations and the rise of non-denominational churches, the effect of media and popular culture on the music of the parish, re newed interest in chant and singing tradi tions found in monastic communities, technology and its relation to sacred mu sic, and more. While these issues are at the heart of the debate of practicing pastoral musi cians in every era, opinion camps will always form on the right, left, and middle of each issue. Indeed, this division is as true in our age as it has been throughout history. Wars have been fought on reli gious grounds, and music has been used as a powerful propaganda tool. Hallelujah! aspires purposefully to take the highest ground regarding sacred music issues. Furthermore, the name Hallelujah! We'll Help implies that the material found in the col You Get Started. umn will relate to, or be of interest to, all Our Suzuki ToneChime method book faith communities. The offering of praise, series makes it easy, even if you've never adoration, and thanksgiving is assumed to taught or played ToneChimes before. Call be their common denominator. This is the us Toll Free, your music class will be spirit in which this column is born and the glad you did! spirit in which this writing is offered. When the column takes risks, makes mistakes, or f?iii1J ffJ [jff II []j w D oversteps its bounds, it is our hope that • • • I!i!!!t!!J c" 0 'R P 0 RAT ION , ' P.O. Box 261030, San Diego, CA 92196 / other common denominators found in all 1800 8541594
SEPTEMBER 1995 PAGE 55 According to the hymnal's prepubli music, including the Psalter, and an Finally, the specific hymns included in cation literature, hymns and spiritual ample selection of hymns by Americans. the sections titled "Justice and Peace," songs included in the book Hymns by Aaron Copland, Emma Lou "Witness and Unity," and "Discipleship Diemer, Alice Parker, Virgil Thomson, and Service" demonstrate a scholarly ap are drawn from many countries and and Richard Proulx are included. Many proach to the content of this congrega many different traditions. Hymns hymns written in the past quarter cen tional resource. from the Protestant, Roman Catholic, tury as well as new texts and music com The hymnal consists of 544 pages Evangelical, African-American, missioned for this collection can be containing hymns and service material, Hispanic, and Jewish traditions, found. The new hymnal is clearly de preface, and indexes. The page layout among others, are represented. signed within a scholarly context for an also offers a unique and welcome aca academic community. demic orientation. Immediately under A number of hymns appear in their origi Hymnals are conventionally ordered the title of the hymn (usually the first nal languages as well as in English around the liturgical year, around a creedal line of text) are listed the tune name, translations. For example, the hymn All architecture, around feasts, celebrations, text and tune author (or source), and People That on Earth Do Dwell appears and daily services, or around doctrinal music and text dates. The prominent in eight languages: English, French, Ger issues. A New Hymnal for Colleges and placement of this information heightens man, Italian, Japanese, Indonesian, Schools assumes a topical order, with some its importance. Copyright notices are Swahili, and Spanish. Intended for col special attention to issues and seasons re placed at the bottom of the page or lege and university use, this new hymnal lated specifically to the academic com hymn. Indexes include the following: also is sensitive to the issues of gender munity. These unique topics are "Rites and names of tunes; composers, sources, and inclusive language, depending heavily on Special Occasions," which include '1\ca arrangers; authors, text sources, and hymn versions prepared by the United demic Occasions, Class Reunions, Funer translators; meters; copyright acknowl Methodist Church and the National als, and Memorial Services." Hymns edgments; and first lines. Council of Churches. included under the topic "Worship in Standard four-part harmonizations are Two particular strengths of the new Community," comprise another corpus stemmed for part-singing. Easy-to-read hymnal are its broad selection of service designed particularly for academic settings. notation, fonts, and layout, as well as cloth
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PAGE 56 CHORAL JOURNAL Music for the small church choir ~ We SP;~lize in binding conform to the best hymnal pub Van Alstyne) and William Cowper. The lication standards. The paper is high perspectives of women are advanced in ( [ouenant House opaque, sixty-pound Glatfelter with a this hymnal, but not as strongly as in 108 E. South St., Lamoni, la., 50140 6'/," x 10" trim size. The only color avail Hymns, Psalms, and Spiritual Songs, the Phone: (515)784-6836 able for the new hymnal is red (the most nondenominational version of The Pres popular choice among hymnal buyers) byterian Hymnal which includes a sig with gold title letters. nificant number of hymns by women. A New Hymnal for Colleges and Schools Reading through A New Hymnal for is a splendid resource for academic com Colleges and Schools is a pleasure. The in Celebrate the joy of Christmas munities and a worthy hymnal for courses dependent nature of a college, seminary, with an anthem from Beautiful in hymnology. Ironically, its only real university, or school setting allows such a weakness is a result of its strengths. Every creative resource to be gathered under Star Publishing ... significant hymnal in the last ten years one binding. Future hymnal publications Beautiful Star has the perfect anthems for your has struggled with the issue of inclusive would benefit by the ideal that led to the Christmas celebrations and performances ... and sensitive language. Gender, religious, creation of A New Hymnal for Colleges Christmas Angels (in English and Spanish) Two·Part and ethnic inclusivity were prime con and Schools. by Denice Rippentrop cerns for this hymnal's editorial board. Sound of Angels Two·Part by Janice Kimes One has to wonder, however, what gains NOTES Waiting for the Light SATB by Denice Rippentrop are made when pronouns referring to de I A New Hymnal for Colleges and Schools (New Bethlehem SATB by Denice Rippentrop ity are neutralized while pronouns refer Haven: Yale University Press, 1992, The Word Became Flesh SATB by Sharon Scholl ,;- ring to the "prince of darkness" remam released 1995), 544 pp. $25. ISBN 0-300- masculine. For example: 0511 3-1 :~;:;;:~~:a:::::I;::;;day ~ at (800) 372-S0NG. ~ A mighty fortress is our God, a bulwark -C]- never failing; BealiJifiti Star Puhlidbu1f}J II1.c. Our helper sure [formerly "he"] amid the flood of mortal ills prevailing.... The prince of darkness grim, we tremble not for bim INVITATION His rage we can endure, for lo! bis doom International Choir Competitions and Festivals for Mixed, is sure, Female, Male, Children's and Youth Choirs, Musica Sacra, Chamber Choirs, Jazz and Folldore Ensembles One little word shall fell bim (p. 460). [italics are editorial] 4th International Choir Competition Riva del Garda (Italien) This said, all sensitive and sensible efforts March 31 st - April 3rd, 1996. Competition with and without compulsory piece made in the area of gender inclusivity High prizes in kind and cash prizes should be applauded when applied to the Concerts in the region: language of praise. This hymnal has Lake Garda - Verona - Venice - Florence made great advances in the ever-debated "SHlRAT HAYAMIM" issue of language. I point out this one 1st International Choir Competition weakness only to say that we will and Netanya (Israel) should spend years "fixing" our language. October 14th - 17th, 1996. Competition with and without compulsory piece Another strength ofA New Hymnal for Category for folklore, symposium. Colleges and Schools is the large number of Concerts in Tel Aviv and Jerusalem new hymn texts and tunes included from the last twenty-five years. Do not expect 1st International MENDELSSOHN Choir Competition Dautphetal- Hessen (Germany) to see outdated nautical metaphors and July 18th - 21st, 1996. romantic language referring to Christ. Competition with and without compulsory piece This hymnal is intended to "help those Concerts in the region: Cologne - Marburg - Frankfort who use it to live the life of faith in our Further events planned- day" (preface). To this end, there are al 4th International Choir Competition Budapest (Hungary) - Murch 23ru- 26th, 1997 most as many Brian Wren hymns as there IN ... CANTO SUL GARDA Folksong Competition (Italy) - June 25th - 29th. 1997 3rd International SMETANA Choir Competition Litomysl (Czech Republic) - OCL 2nd - 5th. 1997 are Charles Wesley hymns, and there are Forderverein INTERKULTUR e.V. more Fred Pratt Green hymns than those .~rverejn rrerkulwr of any other single author. This strength Postfach 12 55 Tel: +49 (0) 6403 - 61482 means, however, there is less room for the D·35412 Pohlheim Fax: +49 (0) 6403 - 68132 Germany hymns of Fanny Crosby (Frances Jane
SEPTEMBER 1995 PAGE 57 J(EYNO,TE ~HORAL YESTIVAL YERIES
he festival series offers a variety of musical performance and educational options for quality school, university, church and community choral groups in inspiring concert sites that a massed choir of this size and quality can command. The weekend begins with an evaluation session and a private 45 minute clinic with one of our renowned guest artists. Then, a thorough rehearsal schedule culminates in a performance of the massed choir with orchestra accompaniment conducted by a nationally recognized leader in the field. The evaluation/ clinic and the massed choir participation may be taken separately or together with sightseeing time scheduled, too.
For detailed information contact Keynote Arts Associates, Inc. / Toll-Free 1-800-522-2213
Main Office / 1637 E. Robinson St. / Orlando, FL 32803 Telephone 407-897-8181/ Fax 407-897-8184 Michigan Office / 5072 W Main St. / Kalamazoo, MI 49009 Telephone 616-344-9883 / Fax 616-382-1322 KEYNOTE ARTS ASSOCIATES John Haberlell
Andre]_ Thomas
Alan Crowell
Alexander Dashnaw 21st Annual c
August, 1996 Eisenstadt and Vienna, Austria
Join DON V MOSES and a host of other specialists in the interpretation and performance practice of Austrian classical music, to study, rehearse and perform the glorious six final masses of Joseph Haydn: "Heiligmesse" - "Paukenmesse" - "Nelsonmesse" "Theresienmesse" - "Schopfungsmesse" - "Harmoniemesse" Four or five choral directors will be invited to bring choirs of 24-28 singers to perform as individual ensembles and also join together to form the Festival Chorus. A 40-piece orchestra will be provided. Lectures on literature, history, and performance practice, panel discussions, three liturgical mass performances, three concerts, the International Choral Festival concert and additional choral concerts will provide an excellent musical and academic setting for conductors and singers. A busy schedule of sightseeing will round out a two-week summer musical experience you will long remember! Why not call the Esterhazy Palace your "home away from home" for two weeks. For complete details, please contact
Don V Moses, Director Classical Music Festival - School of Music 1114 West Nevada Street Urbana IL 61801 Phone 217/244-6281 Fax 217/244-4585
The Classical Music Festival is sponsored by the University of Illinois School of Music, with the generous rmancial support of the Cultural Department of the Burgenland State Government in Austria. COMPACT DISC REVIEWS Richard J. Bloesch, editor
Carl Orff (1895-1982) NE WOULD BE hard-put to recall Eugene Ormandy's Carmina Burana Cmmina Bumna name. a large-scale choral/ with the Rutgers Choirs recorded almost O orchestral work that is held in thirty years ago. A few years later, I heard Lucia Popp, soprano; Gerhard Unger, such affection as Carmina Burana. the account by Rafael Friihbeck de Burgos tenor; Raymond W olansky, baritone; Caught amid the influences of late Ger . and found it "different" somehow. Hear John Noble, baritone man Romanticism and twelve-tone music, ing it now, I can reaffirm ''And how!" This New Philharmonia Chorus and Orches Carl Orff quicldy found his creative voice is a Carmina BU1'ana with personality-as tra; Wandsworth School Boys' Choir; in what he more or less christened his if it needed any more. Tempos are gener Rafael Friibeck de Burgos, conductor "new opus one" in remarks to his pub ally a bit slow but convey a sense of overall Recorded: 1965, digital remasterings in lisher, B. Schott's Sohne. As with any continuity and spaciousness. From the first 1987 and 1992 serious composer of choral music, texts in page, one is aware that the chorus-master EMI Records Ltd., CDM 7 64328 2; spired OrfFs muse. The thirteenth-century wizard Wilhelm Pitz has a few tricks up his [ADD]; 61:10 Benediktbeuren Abbey manuscripts dis sleeve when he emphasizes, rather than covered in 1803 were like a transfusion to clips, the s on "crescis," which, with Edita Gruberova, soprano; John Aler, his creative juices. The work's premiere in Friihbeck's tempo, underscores the vagary tenor; Thomas Hampson, baritone Frankfurt in 1937, featuring dancers and of Fortune's arbitrariness. The "Tanz' and Berlin Philharmonic; Shinyukai Choir; mime, ensured Orffs international repu the "Reie" are each danceable, and the Knaben des Staats- und Domchores tation. As the piece's popularity endures, instrumental solos are often revelatory: for Berlin; Seiji Ozawa, conductor it may also leave Orff unfairly labeled as a example, the rhythmically seductive flute Recorded: 1988 "one-work composer." in "Tani' and "Chume, chum geselle min," Phillips 422 363-2; [DDD]; 60:33 Comparing recordings of Carmina and the opening bassoon solo in "Olim Distributed by PolyGram Records, Inc. Burana is by no means like dealing with lacus colueram." The latter almost obvi apples and oranges. Given the meticulous ates the need for the tenor. Given the range Barbara Hendricks, soprano; Jeffrey editing and printing by Schott, little is left demands of the baritone solos, Friihbeck Black, baritone; Michael Chance, coun to chance for the conductor and his or her uses two soloists so each can accomplish tertenor forces. Similarly, few questions need to be his ends more satisfYingly. However, it is London Philharmonic; London Philhar addressed insofar as tempos and other per Lucia Popp who wins the soprano sweep monic Chorus; the Choristers of the formance practices are concerned. The du stakes hands down. Cathedral and Abbey Church of St. rations of the recordings reviewed here Some may find de Burgos a bit willful, Alban; Franz Welser-Most, conductor differ by a maximum of four minutes. but when compared to the old Leopold Recorded: 1989 Stokowski/Houston Symphony version, EMI Records Ltd., CDC 7 54054 2; de Burgos! the Spaniard is put into proper perspec [DDD]; 57:44 New Philharmonia tive. While his version may be the most One's first date, first pizza, first ACDA personalized of this group, it pays Orff Lynne Dawson, soprano; John Daniecki, convention, or first anything tend to re great homage. And its mid-range price is tenor; Kevin McMillan, baritone main seared in the memory. Thus, I fondly certainly right. San Francisco Symphony; San Francisco Symphony Chorus; San Francisco Girls' Chorus; San Francisco Boys' Chorus; The perfect solution for a perfect performance! Herbert Blomstedt, conductor Recorded: 1990 London 430 509-2; [DDD]; 59:07 SONG-LEARNING TAPES© © 1988 by Hammond Music Service Distributed by PolyGram Records, Inc. Rehearsal tapes help choirs learn music 5 times faster! Sylvia McNair, soprano; John Aler, Perfect for learning oratorios, requiems, cantatas - any major work! tenor; Hikan Hagegird, baritone Also - inexpensive rehearsal tapes for All-State, Regional & Honor Choirs! Saint Louis Symphony Orchestra and Each tape has a grand piano playing its voice part loud Chorus; Leonard Slatkin, conductor in the foreground, all other parts soft in the background. Recorded: 1992 Call or write for a FREE catalog, demo packet/tape, and prices: RCA Victor Red Seal, 09026-61673-2; HAMMOND MUSIC SERVICE Toll Free: 1-800-628-0855 [DDD]; 59:44 235 Morningside Terrace, Vista CA 92084 FAX: 619-726-8053 Distributed by BMG Music, New York
SEPTEMBER 1995 PAGE 61 Ozawa/Berlin Philharmonic Welser-Most/ not. The liner book includes more-than Seiji Ozawa's traversal is perhaps the most London Philharmonic adequate historical and biographical internationally flavored, with a Japanese con Perhaps reflecting his youth, Franz notes (if you want to know about the ductor and chorus, a German orchestra, Welser-Most achieves the fastest timing conductor, that is) as well as translations American male soloists (the tenor having a of the work, and it tends to sound rushed. in three languages. long association with this work), and Edita The London Philharmonic Chorus's men's Gruberova as soprano soloist. The often sound is especially praiseworthy, and the Blomstedt/San Francisco dark Japanese choral sound is intensely ro whole chorus retains its impressive vocal Symphony bust but limited in its color and, hence, integrity despite the slightly pushed tem The San Francisco Symphony and characterization. The chorus rarely tran pos, except in the case of "In taberna Chorus won in 1993 its first Grammy scends dutifulness and sounds a bit muHled quando sumus," which simply sounds award for its recording of Carmina and distant while the Berlin Philharmonic frenetic. Of particular note are the graded Burana, and one can easily understand plays with its customary plush sound. choral dynamics in the strophic selec why. The phrase "organic whole" comes Thomas Hampson is the standout on tions, though one is tempted to question to mind in describing the high-wire bal this recording.' His sound is gorgeous the degree to which nimble-fingered ance achieved between the orchestra and throughout Orff's extreme register de engineering may be responsible for this. chorus by London's engineers. The mands. Gruberova sounds convincingly Using countertenor Michael Chance in bristlingly exciting chorus is lent its due girllike in "Stetit puella," but the perilous "Olim lacus colueram" does not produce weight, and, to my ears, their diction in "Dulcissime" sounds engineered. This as painful a sound as a struggling tenor "In taberna" is unmatched on any record production also has been filmed for pub usually does. ing. Even more miraculously, the percus lic television, and on that broadcast the Welser-Most uses the specified vocal sion section is allowed a razor-edged chorus sings from memory. On this disc sextet in "Si puer cum puellula," whereas presence throughout the work but never they are driven slightly out-of-tune on tradition has begun to dictate using all to the point of domination, and the color the "Veni, veni, venias" owing to an un the men's voices. The choristers of the in the lone tuba 0 at the conclusion of happy meeting of tempo and vocal tech Cathedral and Abbey Church of St. "Ego sum abbas" is most arresting. nique. The liner book is a bit modest, Alban achieve a winking lasciviousness While one might not normally associ though containing good background in "Tempus est iocundum." Jeffrey ate Herbert Blomstedt with a work of this notes and an English translation of the Black's handling of the multifaceted bari sort, he opts to let the piece speak for text. Specific sources of the text, down to tone solos is competent, but Barbara itself, thereby doing it great justice. Lynne folio numbers, are given. Hendricks's singing of "Dulcissime" is Dawson's voice is appropriately "sweet"
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PAGE 62 CHORAL JOURNAL and "girllike." Attendees at ACDA's 1995 A Banquet of Voices The instruments, which are added in National Convention will happily recall Music for Multiple Choirs certain selections, are generally well bal Kevin McMillan's wonderful character (Francisco Guerrero, Duo seraphim; anced, although the chamber organ could ' izations in the baritone roles, thereby mak Gregorio Allegri, Mise1'ere mei; Antonio be louder at times. ing his inclusion on this recording a special Caldara, Crucifixus; Samuel Scheidt, The first part of the CD includes works 'treat. The CD notes include no program Surrexit pastor bonus; Thomas Tallis, by Spanish, Italian, German, and English notes but translations in three languages, Spem in alium ,nunquam habui; Peter composers of the Renaissance and early Ba and, happily, each chorus and its conduc Philips, Ave regina caeI01-um; Johannes roque periods. Thomas Tallis's Spem in alium tor is duly listed on the back. Brahms, Fest- und Gedenkspruche; Felix nunquam habui for foJ;'ty voices (eight Mendelssohn, Mitten wir im Leben SATBB choirs) stands out in this group. A Slatkin/St. Louis Symphony sind; Felix Mendelssohn, Heilig; J. S. challenging piece even for the best profes The newest release on the market is Bach, Singet dem Herrn ein neues Lied, sional choirs, it is performed by the Cam that of Leonard Slatkin and the St. Louis BWV225 . bridge Singers with particular, beauty and Symphony Orchestra and Chorus. Here, The Cambridge Singers; Helen Gough, clarity. When all forty voices sing together, the chorus has a wilder, slightly untamed, Baroque cello; William Hunt, violone; the explosion of glorious sound prov.ides and younger sound, revealing the favorit Wayne Marshall, chamber organ. John exciting contrast to the surrounding poly ism shown them by the engineers. On the . Rutter, conductor phonic sections. Samuel Scheidt's Surrexit plus side, this digital beneficence draws Recorded: February 1993 in the Great pastor bonus offers a stylistic contrast to one's attention to the excellent Germani Hall of University College, London the other early compositions, with a cized Latin diction of the chorus and the Collegium Records, COLCD 123; [DDDJ; superb balance between the chorus and 72:24 the horns on the humming part of Distributed by Collegium Records "Chramer, gip, die varwe mir." Unfortu nately, it also reveals a chorus tenor who N HIS LATEST recording with the sticks out noticeably on the choral sec Cambridge Singers, John Rutter has Finest Fabrics including tion of the "Olim lacus colueram" and put together a wonderful selection of Permanent PreSs and Wash & I Wear. Superior Quality, Free Color the "Si puer cum puellula." Slatlon's quick polychoral music as a means of exploring Catalog and Fabric Swatches on Request. Guaranteed Satisfaction, returns to successive verses in "Ecce the ways a variety of composers have ' Toll Free 1·800·826·8612 gratum" is proportionally unsettling. written for multiple choirs. The CD was Sylvia McNair is done a great disser recorded in a space that takes full advan HEGENCY vice by extremely close miking; distance tage of the antiphonal effects'. The .-.m#l;teJ·'YW@'M·w might have lent a bit more enchantment. natural dynamics that each composer cre~ P.O. Box 8988-CJ Jacksonville, Florida 32211 Her ~'Dulcissime" is giddily improvisa ated by the voicings are clearly audible. tory rhythmically, and she deals with the long, sustained d2 at the end of ''Aruor volat undique" by sensibly stopping three bars before its written conclusion. Re WE COMPETE garding the baritone solos, one's credulity Check us out for competition caliber designs at is stretched when confronted with the affordable prices, We have th~ fr<:shest approach 1 three graduated crescendos on e achieved in the market with the largest selection of by Hiiken Hagegard in "Circa mea innovative trendsetting styles each season, pectora," brilliant and well-acquainted with this piece though he is. Call for a copy of our 76 pg, Historical background, biographical catalog of dynamic lo?ks for notes on the conductor and soloists, and concert and show and find' an English translation are well done. out why more and more' performers are'turning Completely omitting the name of the to Stage Accents for ' St. Louis Symphony Chorus's conductor, their costume needs, however, and not identifYing the children's chorus that joins them is criminal given the fact that the booklet contains two blank, but nonetheless, numbered pages, another page advertising the orchesva's other releases, plus a full page portrait of the maestro. James Hejduk University ofNebraska-Lincoln
SEPTEMBER 1995 PAGE 63 sprightly tempo and strong articulation exception of the tenor and bass opening in ing occurs in rhe opening section, at least by the singers. The Cambridge Singers Mendelssohn's Mitten wir im Leben sind, for my taste, while part three plods along are at their best in this entire section of the German diction lacks clarity in this at the beginning and seems to lose energy the CD, as the singers' pure, angelic sound group of pieces, eirher because of rhe re at rhe end. The group sometimes oversings, is especially appropriate for early music. cording quality or rhe singers' performances. which also may reflect a recording prob Chant passages are excellent, and the It is sometimes difficult even to discern what lem. The ornamentation rhroughout rhe SSAB solo quartet in the selection by language is being sung. In addition, rhe motet is lovely and well-executed. This CD Allegri is marked by a hauntingly exquis Cambridge Singers' sound seems less suited contains a variety ofwonderful choral rep ite first-soprano sound. to rhe Mendelssohn and Brahms works ertoire for multiple choirs, wirh enough The second part of the CD, with works rhan to the earlier compositions. excellent singing by rhe Cambridge Sing by Brahms, Mendelssohn, and J. S. Bach, In rhe final selection, J. S. Bach's motet ers to warrant adding it to one's personal is less satisfYing than the first. With the Singet dem Herrn, too much dynamic swell- collection. Sharon Davis Gratto Gettysburg College Gettysburg, Pennsylvania
BonhoeJfer-T riptychon Herman Berlinski, Das Gebet BonhoeJfers; Heinz Werner Zimmermann, Neujahrslied; Robert M. Helmschrott, Cross and Free dmn: Cantata per ogni tempo) Dresden Chamber Choir; Hans-Christoph Rademann, conductor Recorded: August 1992 Vienna Modern Masters, 3027; [DDD]; 0r: :JOW!T6iotv 60:30 $tltb/JO~!!f'q;uredo/L!!f'(fftm THEUNIVERSI1Y OF ARIZONA CHORAL DEPARTMENT HE Bonhoeffer- Triptychon, re corded by rhe Dresden Chamber Specializes in a sequential course of study that features T Choir under the direction of frequent opportunities for Hans-Christoph Rademann, is an un "Hands-on" conducting practicum, usual group of works that makes for a Studio conducting lessons, unique CD of intriguing choral music. 1v1aster classes, Commissioned by Union Theological Seminary in New York and premiered and Literature and Techniques Seminar there on August 16, 1992, the Triptychon consists of three sacred works by Ger UNDERGRADUATE SCHOLARSHIPS AND GRADUATE TEACHING ASSISTANTSHIPS AVAllABLE man-born composers-Protestant Heinz Werner Zimmermann, Carholic Robert BACHELOR OF MUSIC IN CHORAL MUSIC EDUCATION M. Helmschrott, and Jew Herman MAsTER OF MUSIC IN CHORAL CONDUCTING Berlinski. The compositions are written in memory of Christian rheologian and po DOCTOR OF MUSICAL ARTS IN CHORAL CONDUCTING litical activist Dietrich Bonhoeffer, who was born in Germany in 1906 and ex ecuted for treason in 1945, just prior to rhe end ofAdolph Hitler's rule. The music for the first panel of the Triptychon is Herman Berlinski's cantata on the theme of love titled The Prayer of Bonhoeffer for soprano and baritone soli, SATB choir, and small instrumental en semble. Berlinski's excellent writing for flute and soprano, evident in his other works as well, stands out in this cantata's duet sections. Berlinski uses rhe flute as PAGE 64 CHORAL JOURNAL an extension of the human voice in re lating the story of Bonhoeffer's fiancee, Maria von Wedemeyer, who often risked her life to visit him in prison. The second section for baritone solo and cello repre sents Bonhoeffer's self-expression through poetry and his use of prayer to find con solation for himself and the other prison ers. The third and final choral section SECULAR MUSIC FOR MIXED VOICES expresses Bonhoeffer's plans to marry SATB-101 THE LONESOME DOVE - American Folk Song $1.10 Maria upon his release from jail, a dream SATB-102 THE LITTLE WHITE HEN - Antonio Scandello-Knight $1.00 he was never able to realize. The closing SATB-103 SHENANDOAH - American Folk Song - Harris $1.10 "amen" section unites soloists and choir SATB-104 o THOU SWEET MAY - Brahms - Harris $1.10 and includes some spoken passages of text. (0 Susser Mai) The composition is well conceived and SATB-105 TO SHORTEN WINTER'S SADNESS - Weelkes - Harris $1.10 well constructed. Berlinski himself plays SATB-106 ALL LOVES BEGONE - Sermisy - Harris $1.10 the organ part on the recording. SATB-107 WEEP YOU NO MORE SAD FOUNTAINS - Dowland - Harris $1.10 Zimmermann's Neujahrslied (New Years SATB-108 NOW IS THE GENTLE SEASON - Morley - Harris $1.10 Son~, which forms the central panel, is SATB-109 COME AWAY SWEET LOVE AND PLAY THEE - Greaves - Harris $1.10 based on a poem Bonhoeffer wrote to cel SATB-110 ANNIE LAURIE - Scott - Harris $1.25 ebrate the New Year while he was in prison. SATB-111 TWO BRAHMS FOLK SONGS - Brahms - Harris $1.10 It is a simple work, hymnlike in style and Down in the Valley structure, written for five-part mixed choir In Calm of Night and string bass. The work reflects the strong SATB-112 I LOVE THEE DEAR - Beethoven - Harris $1.10 faith that enabled Bonhoeffer to perservere (Ich Liebe Dich) in his personal beliefs. It opens effectively SATB-113 ALL MY TRIALS - Folk Song - Harris $1.10 with unison singing by the men accompa SATB-114 HARKEN ALL YE LOVELY SAINTS ABOVE - Weelkes - Harris $1.10 nied by pizzicato bass. Solo organ and uni son passages for the women follow. This is the most melodic of the Triptychon com TWO-PART MUSIC FOR THE SMALL CHURCH CHOIR positions. Two-part BLESSING AND GLORY, POWER AND HONOR - Handel - Harris $1.10 The third work on the CD, Helm Two-part SING AND SHOUT 0 ALL YE PEOPLE - Purcell - Harris $1.10 schrott's Cross and Freedom cantata, is in Two-part BLESS YE THE LORD - Handel - Harris $1.10 four parts, each based on a different Bonhoeffer quotation. It is scored for speaker, four- and eight-part mixed choir, MUSIC FOR WOMEN'S VOICES and soprano, tenor, and bass soli taken SSA-303 ftom the ensemble. The first section be JESUS, JESUS REST YOUR HEA D-Appalachian Folk Song-Harris $1.10 SSA-310 gins with an exciting snare-drum solo, fol OH MY LOVE - Folk Song - Harris $1.10 SSA-510 SHENANDOAH - American Folk Song - Harris $1.10 lowed by trombone quartet, timpani, and other percussion, and then organ. Part two is slow and pensive; part three resembles part one. The final section is a haunting SACRED MUSIC FOR MIXED VOICES "Elegie" that begins with a violin solo. SATB-401 THIS IS THE DAY WHICH THE LORD HATH MADE - Harris $1.10 This is an unusual CD in terms of its SATB-402 BEHOLD, I STAND ATTHE DOOR - Harris $1.10 conception and its literature. The instru SATB-403 KYRIE ELEISON (Lord, Have Mercy) - Harris $1.10 mental and vocal performances are excel SATB-404 THE EARTH IS THE LORD'S - Harris $1.10 lent. Best of all is the opportunity to hear SATB-405 CREATE IN ME A CLEAN HEART - Brahms - Knight $1.10 German beautifully pronounced and sung (Schaffe in mire, Gott ein rein Herz) by native speakers. The recording quality SATB-406 PRAISE YE THE LORD - SchUtz - Knight $1.00 enhances exceptional singing and playing SATB-407a GOD OF OUR FATHERS - Warren - Harris (Full Score) $12.50 of this very challenging repertoire. - 407b GOD OF OUR FATHERS - Warren - Harris (Chorus - Organ) $1.50 Sharon Davis Gratto - 407c GOD OF OUR FATHERS - Warren - Harris (Instru. parts) $10.00 Gettysburg College SATB-408 PSALM 113 - Ippolitof - Harris $1.10 Gettysburg, Pennsylvania SATB-409 HEAR MY CRY, LORD - SchUtz - Harris $1.10 SATB-410 A PRAYER - Bruch - Knight $1.10 -C]- SEPTEMBER 1995 PAGE 65 CHICAGO· WALT DISNEY WORLO@ RESORT· DISNEYLANO@ PARK America's premier show choir e"ents DISNEYLAND® PARK (April 18·21) ftfeature fifteen competing choirs plus feature female show choir solo performance competitions. SHOWSTOPPERS competitions 'Cis well as show CHICAGO (March 14 -11) features specialty clinics case performance~ in a non and seminars. SeOWSTOPPERS WALT DISNEY WORLD® competitive format. Audition RESORT (March 21· 24) and SeOWSTOPPERS tapes aredue by October 11, 1995. KEYNOTE ARTS ASSOCIATES, INC. Main Office 1637 E.Robinson 51. / Orlando, Fl32803 T407-897-8181 /F407-897"8184 Michigon Office 5072 W. Moin 51. / Kolomazoo, MI 49009 T616-344-9883 / F616-382-1322 1·800·522·2213 :::-~.:.W.:.·· I ------KEYNOTE ARTS ASSOCL\TES BOOK REVIEWS Stephen Town, editor David P. DeVenney annotations in the alphabetical catalog Stephen A. Crist, editor American Choral Music Since 1920: but also would see in the index that Enchiridion Geistliker Leder unde An Annotated Guide seven selected writings have been re Psalmen, Magdeburg 1536; Introductory Berkeley, California: Fallen Leaf Press, viewed, including doctoral theses. An im Study and Facsimile Edition 1993.278 pp. $49.50 ISBN 0-914913- pressive cross-reference system in the Emory Texts and Studies in Ecclesial 28-X.93-21428 annotation of each work in the catalog Life, no. 2. Atlanta: Scholars Press, 1994. refers the user to writings concerning that 130 pp. $59.95. ISBN 1-55540-967-9. ALLEN LEAF PRESS has pub composition included in the bibliogra LC M2138.E5 lished three previous installments phy. Since seventy-six composers are rep Fin a series of annotated bibliogra resented in the catalog, one can easily see HIS BEAUTIFULLY presented phies by David DeVenney: American the magnitude of the cross-referencing. volume is based on a photo Choral Music: An Annotated Guide; Early Useful indexes include titles, authors T graphic facsimile (with com American Choral Music: An Annotated and sources of texts, the bibliography, puter-assisted imaging) of one of the few Guide; and American Masses and Requiems: performance forces, and durations. The Low German hymnals surviving from A Descripitive Guide. If this volume is any conductor who needs a five- to seven Martin Luther's lifetime. Having been in indication, the series is worth the expense. minute work for four-part male chorus a private collection until its recent pur DeVenney's American Choral Music Since with piano accompaniment can easily chase by the Pitts Theology Library of 1920 is an essential tool for the conductor find it here. Emory University as part of the Richard who wishes to know more about our own Unfortunately, instructions for using C. Kessler Reformation Collection, this domestic product and who wishes to en the book are confusingly written. Only hymnal has eluded systematic investiga gage in creative programming. through actual use of the book does tion until now. It is a valuable reflection The two-hundred-page reference guide the layout (which is really quite easy to annotates approximately two thousand understand) become clear. Despite omis works, with an average of nine works per sions of some composers whom other GMadrig. page. The annotations include publisher, writers might have included, the catalog CJJinner duration, performance medium, source is representative of the many disparate by of text, date of composition, and other schools of composition in this century. Paul Brandvik cripts author of pertinent information. For example, an Women composers are adequately repre The Compleet Madrigal Dinner Booke notation no. 207 indicates that Charles sented, with Emma Lou Diemer, Libby Scripts include: W Cadman's The Builder, op. 78, no. 1, Larsen, and Alice Parker among them, ALL DIALOGUE: was composed c. 1924 for TTBB choir but the definitive work on this area re Greetings, Toasts, Festivities, Concert, Farewell and piano with a text by James W Foley, mains the Adrienne Fried Block and Plus: that the performance time is approxi Carol Neuls-Bates book, Women in HUMOROUS RENAISSANCE mately 3:30, and that Harold Flammer is American Music: A Bibliography ofMusic MASQUE the publisher. A special note says that the and Literature (1979). Plus: work was originally for solo voice and American Choral Music Since 1920 is REPERTOIRE SUGGESTIONS Ceremonial music and concert that SAB, SATB, SSA, and SA arrange enthusiastically recommended for the ref ments also exist (p. 23). erence shelf of all music libraries and for SEVENTEEN different scripts available, This information is useful in itself, conductors who wish to move beyond including a new script designed for but the real value of the book is in the standard choral programming choices. younger performers. "Bibliography of Selected Writings" and The introduction is a valuable, compre New this year: the indexes. The former cites publica hensive, in-depth perusal of trends and MERTONSIRE, LORD OF MISRULE tions that deal with the history and per personalities in this century's choral mu Call or write for your FREE descriptive formance practice of this repertoire and sic. Together with the author's three pre brochure. Join the thousands who have includes 229 titles. The best manner in vious bibliographies of American choral made these Madrigal Dinner Scripts a tradition. which to judge the usefulness of a refer music, it represents years of labor and ence book is to use it for research, and provides a good overview of our country's this reviewer's trial run with the book choral literature. knight-shtick was wonderfully productive. For in Jeffrey Carter press stance, a reader using this book as a Blue Springs Community College Box 814 Dept. A source of information on Ned Rorem's Blue Springs, Missouri Bemidji, MN 56601-0814 Telephone 218-751-2148 choral music would find not only sixty SEPTEMBER 1995 PAGE 67 of the print culture in northern German Michael Lotter, the most significant Enchiridion (thoughtfully providing High cities early in the Reformation, particu printer of Luther's works in Magdeburg German as well as Low German titles) larly in Magdeburg, "the first major free and a son of the Wittenberg printer who indexed to other major sources, a tran city in North Germany to adopt the ideas published the first edition (1522) of scription offour manuscript hymns found of the Reformers" (p. 2). Low German is Luther's New Testament translation. in the endpapers of the hymnal, and a a dialect that more closely resembles Crist explores the probable influence "Provisional List of Low German Hym Dutch, English, and modern Platt of earlier hymnals published in Rostock nals Printed before Luther's Death (1546)" deutsch than High German, and it was and Leipzig on the choice and order of with bibliographic information and fre the spoken and written language of hymns in this Enchiridion, and he com quent annotations. Endnotes from the es Northern Germany into the seventeenth pares the orders of worship for Vespers, say then follow (making them a bit century. In fact much of the Reformation Compline, Matins, and the Mass as given awkward to locate when reading the text), literature published in Low German was in the three volumes to further establish and a list of cited works is given. translated from High German so that it similarities and differences. Three indexes of the facsimile material could be more readily understood in the Three appendixes provide an inven introduce the main body of the book. north. This Enchiridion was the work of tory of hymns in the Magdeburg These consist of alphabetical tables of hymn texts, authors, and melodies (by text association) found in the volume. Finally, the photographic plates of the Enchiridion itself are presented, along with the endpapers and title page. A nice touch is the opening photograph of the original bound volume, its cover and spine attest ing to its delicate condition and age. The print is surprisingly legible both for text and tunes. While the manuscript endpa NOTE NAME pers and title page have been magnified 80 percent, thus taking up a page each, the other pages of the Enchiridion have DRILLS been magnified only 5 percent and are For Macintosh grouped four to a page. This is an attrac tive yet practical format, with each double Now Has page opening receiving a single page numbering from the editor, which makes cross-referencing quite manageable. SOLFEGE For the choral director who is inter ested in early Lutheran hymnody, this MAESTRO MUSIC, INC. volume may serve as a source for com 2403 San Mateo NE #P-1 parisons of common Reformation-pe Albuquerque, NM 8711 0 • (505) 881-9181 riod tunes with the versions given in current hymnals. The greatest value of Leading supplier of Tuxedo's and Formal Wear Accessories to Casino's, Hotels, Colleges, Universities and High Schools. , Call for free brochure ' JACKHIBER 1-612-533-9872 -1-800-634-2423 and price list or price quote. ' 1-612-533-3718 Fax PAGE 68 CHORAL JOURNAL this work, however, is for the serious What is condemned by one gener not acceptable to his critics) when one hymnologist who is researching the ation as florid can seem to other remembers Wesley was rejoicing in a per hymns and music of the early Reforma generations no more than soberly sonal salvation that was available to all tion in North Germany. Within those exalted; and that consideration who would accept it. narrow parameters it is a scholarly vol restricts very severely the practice of Chapter six, "Psalmody as Transla ume that merits attention. taking literary style as any register of tion," discusses the psalm versions of John W Campbell "sincerity"(p.49). Watts and Christopher Smart (known to Milligan College many through Benjamin Britten's set Elizabethton, Tennessee Davie also reminds the reader that ting of his texts in Rejoice in the Lamb) there is both theological and devotional and mentions the Old Version of writing. The best eighteenth-century Sternhold and Hopkins and the New Donald Davie hymns are devotional in character, but, at Version ofTate and Brady (completed in The Eighteenth-Century Hymn in En the same time, they are doctrinally con 1696 rather than in 1698 as cited in the gland (Cambridge Studies in Eighteenth ceived. "Theological niceties are not ster book). Davie's insistence that Watts's Century English Literature and Thought) ile-not so long as they can be translated psalm versions should be considered as Cambridge: Cambridge University Press, into worshipping experience" (p. 14). "translations, rather than huddling them 1993. 167 pp. $54.95. ISBN 0-521- One of the most intriguing aspects of away under some apologetic label like 38168-1 this study is the treatment of the lan 'adaptation' or 'paraphrase'" (p. 72) is guage ofIsaac Watts and Charles Wesley. somewhat puzzling. Louis Benson (The HE TITLE of this volume Davie correctly observes that Watts's English Hymn, 1915) pointed out many should pique the interest of hymns are not nearly so concerned, as years ago the role Watts played in help T most choral conductors in are many of Wesley's hymns, with Chris ing to lead a psalm-singing nation to volved in church music, especially those tian experience. Other observers have embrace hymn singing. In his Psalms of who believe in the power of hymns to said that Watts's hymns reflect objective David Imitated in the Language of the unite congregations in the praise of God. praise rather than the subjective experi New Testament (London, 1719), Watts's Some of the most significant hymn writ ence found in many Wesleyan hymns. psalm paraphrases are sometimes so loose ers (as opposed to those who provided Some discussion of the theological posi that the result can often be considered metrical versions of psalm texts) flour tions of Watts and the Wesleys would an original hymn. ished during the eighteenth century. have aided the reader. Watts was influ Donald Davie, with his admirable Isaac Watts, John and Charles Wesley, enced by Calvinist theology. Strict Cal background in literary criticism and his Philip Doddridge, Augustus Toplady, vinists believed that salvation was the interest in the church, has produced an John Newton, and William Cowper are property of only those who were predes excellent study. It offers fascinating in among those included in this study. tined to receive it. The Wesleys were sights for the serious hymnology student. The text examines eighteenth-century influenced by Arminian theology and its Donald C. Brown hymnists' choice of language (poetic dic belief in universal atonement. The lan William Jewell College tion). The author states his thesis strongly: guage used by Wesley in describing the Liberty, Missouri joy of his personal salvation was consid Poetic diction may be thought, by ered by many of his contemporaries to be -C]- earnestly pious people as well as by vulgar and overly enthusiastic. The choice others with less excuse, a trivial or of language is more understandable (if frivolous concern. However, it is what this study will be principally concerned with (p. 10). C-STRAVEL SERVICE INC. One illustration concerns John Newton's Amazing Grace. The hymn text becomes .... TheConc~rt. Tour Co. '''TM more clearly understood when one real ··pres.ents izes that "amazement," according to the < " ',' ,',:" ' " • Oxford English Dictionary, had the mean EUROI:lEANGONCERTTOURS" ,., ' '" " ,."" .. .. '. ing of "panic" in 1706 and of "stupefac .,....Qualitative Concerts! tion, frenzy" in 1746 (p. 131). Of course the book is concerned with much more -r-·Exc,ellfmtarr~ngem~nts! than lost meanings of individual words. . ~ The finest tour at the best cost! Broader themes such as theological im ----~~~-~~~~~~~~~---~~-~ Writ(3orCaUToc/~y ...... plications and literary style are treated. i1P~31S.ROB~RTSROAD •. Davie observes that language preferences C-S·lRAVI;LSERVICE;.INC;: . 1-800~428~7883 ...... PALOS HILLS; .ILLINOIS60465 often change: SEPTEMBER 1995 PAGE 69 J...-ITh_e_1_9_9_6_N_o_r_t_h_A_m_e_r_i_c_8I_n_M_u_6_i_c_n_e_6_t_i_~_a_16_! __----'I "fravel, Recognit.ion, Mot.ivat.ion, Sat.isfact.ion ... Your Keys to Excitement and Success for '95-'96! -Wehavese ___M--.;.a_r...;;c;...h--.;.2...;;2_-2.-..;3 __ --... lected sizzling sandy beaches, (The Orlando Superior Festival) and scintillating, sensational (This is our only fest.ival which requires a recent. ~ul7erior" .....-"I'"'lrll .. t.o be for rt.icloa-r:;lon. cities. 1-...::::.::t:=-:::::...... :::::::.::::~..::::::==~:.:::..:.::::...t:::::.:..:::~::.:..:::.:.:::.:::.L. ______---< -We've included amazing amuse mentparks, primo performing March 29-30 sites, ----~~~~~~~---< May 17-18 superior service, and LOTS of excellent experi ence! March 29-3 April 12-13; Please call our friendly, helpful, with Busch Gardens April 19-20; April 26-27; professionals for your free, no- I------...... :~""""'-=...... :'------< obligation '96 info kit! We offer adjudi cations (choose --...;.....;,&;..;...;.;...=.-;..;~----( ranking, festival rating, or com ments only) for high school and __~~.:.:...~-=:.=..a..- __-( middle school/jr. high school mixed choruses, women's cho ruses, men's --..;...;,&;..;...;.;..;=;;....;=..;.-'-----( choruses, madri gal/chamber choirs, show with Canada's Wonderland choirs and jazz choirs. Phone 1- 800- You choose 533- 6263 ______"""< today! Again this year, three out of four participating Directors rated N.A.M.F. "better than" or "far superior" to other festivals in which £;p they had rticin"'.. -"" .... CHORAL REVIEWS Corydon J. Carlson, editor Editor's Note: In this issue we review PUBLISHERS THIS ISSUE music in various voicings suitable for Chanukah, Advent, and Christmas. Augsburg Fortress Publishers G.I.A. Publications National Music Publishers P.O. Box 1209 7404 South Mason Avenue 16605 Townhouse Drive Minneapolis, MN 55440 Chicago, IL 60638 Tusdn, CA 92680 Adam Lay Ybounden Beckenhorst Press, Inc. Gentry Publications Night Heron Music Frank Ferko P.O. Box 14273 Intrada Music Group, 580 Brockway Road SATB Columbus, OH 43215 sole agent Hopkinton, NH 03229 ECS, 4919, $1.25 P.O. Box 1240 Boosey & Hawkes Anderson, IN 46015 OCP Publications This short and beautiful setting of the Tenth Floor 5536 NE Hassalo 52 Cooper Square HaZarnir Publications! Portland, OR 97213 familiar fifteenth-century English text re New York, NY 10003 World Music Press calls an early-music style and features addi P.O. Box 2565 Paraclete Press tive rhythms (long and short notes CPPIBelwin, Inc. Music Danbury, CT 06813 P.O. Box 1568 coinciding with strong and weak syllables), Publishers Orleans, MA 02653 linear counterpoint with organum-like sec 15800 NW Forty-eighth Heritage Music Press Avenue Lorenz Corporation, Plymouth Music Company tions, and cadences approached in a modal Miami, FL 33014 sole agent 170 Northeast Thirty-tllird style. The presentation of the text is ex 501 East Third Street Street tremely clear and declamatory. The motet Choristers Guild Dayton, OH 45401 Fort Lauderdale, FL 33334 does not present extreme vocal or musical 2834 West Kingsley Road difficulties and would program well for a Garland, TX 75041 Hinshaw Music, Inc. Santa Barbara Music P.O. Box 470 Publishing Lessons and Carols service or for a concert Concordia Publishing House Chapel Hill, NC 27514 P.O. Box 41003 ofholiday music. It is highly recommended. 3558 South Jefferson Avenue Santa Barbara, CA 93140 Joe Hickman St. Louis, MO 63118 Neil A. Kjos Music Company 4380 Jutland Drive Shawnee Press, Inc. Descant Publications San Diego, CA 92117 One Waring Drive Intrada Music Group, Delaware Gap, PA 18327 sole agent Latham Music Enterprises At Hanissim (Sing to God) P.O. Box 1240 1209 Gregory Street Sonos Music Resources DovFrimer Anderson, IN 46015 Greensboro, NC 27403 P.O. Box 1900 SATB, keyboard, optional clarinet Orem, UT 84059 Transcontinental, 991306, $1.25 E. C. Schirmer Music Laurendale Associates Company 10535 Wyandotte Street Thorpe Music Publishing ECS Publishing, sole agent Van Nuys, CA 91405 . Company This tuneful setting of a Hebrew litur 138 Ipswich Street Theodore Presser gical text for Chanukah communicates a Boston, MA 02115 Hal Leonard Publishing Company, sole agent joyous, dancelike feeling in a manner well Corporation Presser Place within the performance ability of most Carl Fischer, Inc. P.O. Box 13819 Bryn Mawr, PA19010 62 Cooper Square Milwaukee, Wl53213 ensembles. As arranged by Joshua Jacobson New York, NY 10003 Transcontinental Music and Hankus Netsky, the work alternates Lorenz Corporation Publications between soli, two-part, and full choral state Harold Flammer Music 501 East Third Street 838 Fifth Avenue ments of the text ("Sing to God, for He Music Sales Corporation, Dayton, OH 45401 NewYork,NY 10021 has done wonders! Come sing to God for sole agent 257 PitrkAvenue, South MorningStar Music Publishers He has redeemed us, for He is our salva New York, NY 10010 2117 Fifty-ninth Street tion in every generation, from ancient times St. Louis, MO 63110 until this very day"). The voice parts are straightforward, offering no particular dif ficulties (although a tenor-bass soli passage -e- goes up to fl); occasional divisi in each -e- 2: ., .i part fill out the harmony nicely. A Hebrew VOCAL RANGES , pronunciation guide is included, as well -e- l 2 3 as an English text. Both keyboard and the C c c c c optional clarinet parts are written in the SEPTEMBER 1995 PAGE 71 vigorous Klezmer style descended from the version may wish to follow Thompson's and Rat. The mice sing of the first Christ small folk bands of Eastern Europe. Al suggestion and perform this work unac mas Eve, with a refrain bidding the lis though not indicated, this piece could be companied; the keyboard and handbell tener, "Joy ... in the morning." performed by treble chorus with some parts are unimpressive and tend to detract Each of the five stanzas is a variation of thoughtful revoicing. In addition, the tenor from the vocal writing. Thompson's revi the jaunty tune, each verse becoming more part can be sung comfortably by changing sion of the lyrics, however, is refreshing, polyphonic and madrigal-like. Comfortable voices (except for an occasional ei». This and he provides optional lyrics at certain ranges and well-crafted voice-leading make energetic celebration of God's miracles points to make the text appropriate for this carol accessible to any age group, yet should find a useful niche in a variety of either sacred or secular performance. the setring of the text is so delightful and concert programs. Whether sung in the Ranges are narrow (one octave), and sensitive that it would be particularly ap original Hebrew or in the English transla tessituras should pose no problem. This propriate for choirs of advanced abilities. tion, Al Hanissim should provide a pleas simple arrangement would be appropriate Carolyn Banta ing experience for a wide range of choirs. for a young children's chorus but also may Michael Braz be enjoyed by mature groups. Ross C. Bernhardt Carol ofthe Bethlehem Cave (Villancico de la cneva de belen) Bell Carol Christopher Walker (arr.) Dick Thompson (arr.) A Carol from the Willows SAB, keyboard, optional descant, guitar, SA, keyboard, optional handbells David Eddleman solo instrument, handbells Santa Barbara, SBMP 72, $1.20 SATB OCP, 9843, $1 Carl Fischer, CM8401, $1.10 Sparse two-part vocal texture highlights Christopher Walker's arrangement of Thompson's new arrangement of this pe The text for this piece is from Ken the traditional Spanish carol EI buen rennial holiday favorite. Conductors ac neth Grahame's Wind in the Willows, as rabaddn is simple but elegant. The ho customed to Leontovich's unaccompanied the field-mice children carol for the Mole mophonic choral writing is supported by arpeggiated patterns in the keyboard Est. 1957 - 39 Years of Excellence accompaniment, which highlight the lilt ing ~ meter of the tune. Occasional raised sixths lend a modal flair to the prevailing E-minor tonality. Ranges are quite nar INTROPA PRESENTS: row, and tessituras present no problem, Vienna International Youth & Music Festival although the descant does extend to g2. held annually in July (25th Anniversary) Walker provides bilingual lyrics; unfor British International Festival, NottinghaQ1 - held annually in July tunately, the five English and four Span London Parade Event - New Year's Day - ish verses are all printed between the two held annually (Choirs and Orchestras) voice staves, making sight-reading diffi Paris Parade Event - New Year's Day held annually (Choirs and Orchestras) cult. The keyboard can be augmented or International Church & Music Festival replaced by guitar; optional solo instru (presented by FestCorps) Held annually: odd years Berne, Switzerland, even years Coventry, England ment (perhaps oboe) and handbell parts Atlanta Choral Festival- are included within the octavo. The back held annually in AprillMay page contains only the melody and lyrics Myrtle Beach Choral Festival - held annually in April/May and can be reproduced for congregational Nashville Choral Festival singing. Many church choirs would find held annually in AprillMay this work a satisfYing addition to their Williamsburg Choral Festival held annually in AprillMay holiday repertoire. Cruise Festival- held annually during Spring Break Ross C. Bernhardt 4950 Bissonnet, Suite 201 Bellaire, Texas 77401 (713) 666-3838 A Chanukah Dreidle Michael Isaacson CALL TOLL FREE (800) INTROPA SATB speaking chorus, percussion 1066 Saratoga Avenue, Suite 100 Transcontinental, 991394, $1.90 San Jose, California 95129 (800) 947-TOUR A Chanukah Dreidle is a clever piece with a feeling of perpetual motion re- PAGE 72 CHORAL JOURNAL flecting its title. Isaacson has combined Come, Heavenly Babe SATB sections. While designated for or a speaking chorus with a battery of per Gerhard Track gan, the accompaniment is equally ef cussion to tell the Chanukah story in a SATB fective on piano. Vocal ranges are frenetic, driving fashion. As in other spo Kjos, 8772, 95¢ conservative and highly accessible to ken pieces, the texture can occasionally young singers. Subtle jazz-influenced dis become thick and confused during con The text of this chorale-like selection sonances, while sometimes unexpected, trapuntal sections, but most of the vocal deals with the preparation of the heart for are well prepared and pose no significant writing is clear, relying either on re the coming Christ. The poet, Roberta intonation difficulties. A brief passage is sponses between voices or emphasis on Arwood, has created a masterful and beau scored for optional solo C treble instru specific words. The lyrics, while occa tiful word painting of the Christ child as ment, and an optional soprano solo sionally talking "around" the subject, ad deliverer, which the composer has set in a (equally effective if sung by the section) equately tell the Chanukah story, simple but powerful way. The harmonies opens the work. The accompaniment emphasizing the miracle of the rededi are almost exclusively diatonic, and the cation of the Temple. Voice parts are voice-leading provides interest without written on standard staves and indicate calling attention to itself The setting is ChoralView approximate pitch areas. The percussion not challenging technically for a choir of Find the best music ....FAST! parts require two (preferably three) play adults or older students, and its expres All the Choral Reviews written by the ACDA, AGO, Choristers Guild, the Diapason, " ers accompanying the chorus in an ener sive content makes it a strong choice, AGEHR, and Creator Magazine ... on computer disk! All reviews getic, demanding tour de force. Though especially as an anthem for Advent. Catagorized by Historic period. ,... notated in the score, the parts must be Cha1'lie Fuller Voicing. Liturical Season, Source of Text. Recommended age, Styles ordered separately (991395, $2.50). Al of Jazz, Folk, Spiritual, Etc. Plus 20%-25% discounts though A Chanukah Dreidlewould most and "Free-Bees:' likely be considered a novelty piece, it FREE SAMPLE DISK AND MORE provides a valuable rhythmic reading ex A Cradle Song INFO - CALL 1-800-736-0595, give name, address, and computer type perience for all involved and fosters a sense David Hurd (IBM/clone or Macintosh) of choral drama in its interpretation. It SATB, keyboard will be a very effective selection, espe Augsburg Fortress, 11-10460, $1.35 cially as an unusual closing piece for a CHORAL SUBSCRIPTION 2 Years for just $15.95! section of a holiday concert. David Hurd's A Cradle Song is a Quarterly mailings of all new octavos from Theodore Presser Co. & its affiliates. Visa, Michael Braz gentle, lyrical setting of a lovely sacred Mastercard, American Express & Discover ac- text by William Blake (1757-1827). The Mail Canada, S to: 1iiiffi:f.F.F.r.; choral parts alternate between unison/ octave doubling and tasteful, simple Christmas Fanfare Cynthia Gray Three-part mixed (SAB/I, II, III), piano, and optional trumpet Heritage (Lorenz, sole agent), 1511120, $1.25 This bright, festive piece could be used as an introit or anthem. In addition to the optional trumpet part, it contains an added solo soprano line. Ranges are l l d to f2 for part one, c to aJ,1 for part two, and f to eP for part three. The piece is in eight-measure phrases with several repetitions that enhance the accessibility of the piece. This would be a useful work for a junior or senior high school choir or a church choir with limited male voices. The accompaniment reinforces but does not duplicate the vocal parts. The trumpet solo appears to be very ba sic and should not offer the instrumen talist any difficulty. Elwood H. Brown SEPTEMBER 1995 PAGE 73 provides substantial support of the vocal Dies es laetitiae (This Day Is a JoyfUL Day) of elegant intensity. Once again Richard lines with frequent doubling while main Venceslaus Samotulinus Proulx has contributed an accessible work taining a forward-moving feel that is SATB for small or large church choirs. never static. G.I.A., G-3987, $1 Sharon Davis Gratto Timothy Snyder This motet in the Netherlands poly phonic style is a wonderful recent addi tion to the available SATB Christmas D'ou viens-tu, bergere? Dance ofthe Stars repertoire. Editor Richard Proulx has in Alexander R. Tilley (arr.) Benjamin Harlan cluded a paraphrased English text for Dies SATB,Asolo SATB, keyboard es laetitiae. Samotulinus (c. 1524- Boosey & Hawkes, OCTB6732, $1.75 CPP/Beiwin, BSC00285, $1.10 c. 1572), a Polish composer in the court of Sigmund II, left the court to join the This French Canadian carol arrange This would be an effective piece for a Polish reform church movement and write ment asks the question, "Where were choir that has a good sense of rhythm and hymns and motets. The melody is from you, young shepherd?" It takes the form is comfortable with syncopation. The the Piae cantiones of 1582, a collection of of a dialogue between a young shepherd ranges in all voices are modest (the most medieval hymns; the text is a fifteenth girl (the alto soloist) and the unbelieving extreme are f1 in the tenor and f2 for century creche-carol. questioners (the choir). The soloist sings soprano). The piece has a quasi-gospel Before the motet begins, the com the delightful folk melody while the cho pop, dancelike effect that would add vari plete hymn melody is presented and may ral parts offer both dialogue and accom ety to a Christmas program. The full be sung in unison by the entire choir or paniment to the solo. Both the French accompaniment duplicates voice parts by a solo voice or section as an introduc text and a singing translation by the ar with expanded chords in the right hand tion. In the motet proper the cantus ranger are provided. The ranges and and much octave work in the left hand. firmus is in the tenor part, accompanied tessituras are not extreme, but the tex This piece would be popular with a youth by contrapuntal melodic fragments in tures, voice-leading, and divisi create choir or high school choir and would be the other three voices. The composition both great interest and some challenge. suitable for the average church choir. is not difficult to sing, moving in a mod The arrangement is in varied strophic Elwood H Brown erately slow tempo that gives it a feeling form and would be a strong choice for PAUL HJINDEMITH & CAlRL ORFF CENTENARY YEAR 1995 Thank you to all our friends and colleagues who are members of The American Choral Directors Association for many years of wonderful performances and many more to come. SCII(yrl" Exclusive Publisher of the works of Paul lHindemith and Carl Orff Sole U rutcd States Agent: EUROPEAN AMERICAN MU§IC DI§TRmmrOR§ CORPORATION P.O. IBox 850 • Valley Forge, lB:\ 19482 PAGE 74 CHORAL JOURNAL an advanced high school choir, a univer reviewed here, and one long seasonal point complements the tune at one sity choir, or an adult group. work, Emmanuel-God with Us. All are point, and fauxbourdon-type harmony Charlie Fuller tonal, Romantic works-extremely sing accompanies it at another, but in all cases able and easily sight-read by good cho Young does not interfere with the sim ruses. The ranges are not extended; each plicity of the hymn. piece has an occasional g2 for sopranos The Magnificat is straightforward, not Echo Carol and gl for tenors, but no piece has more difficult, and expressive of the text. Dur Hugh S. Livingston, Jr. than one a2 for sopranos. The works are ing its six-minute duration, Young brings SAB, piano full-textured; all parts divide at some point out the simple beauty of the text and Lorenz, 10/1177, $1.10 in all five works, though not constantly. downplays the drama. They contain long lines in slow tempos, The crown of this musical trilogy is The familiar carol While by My Sheep thus requiring exquisite phrasing and good "Love Incarnate," a beautiful and mov serves as the basis of this composition. breath control. The conductor must shape ing setting of this lovely text. This motet, Its Handelian-style opening and ritor each piece with expressive rubato to cap like the other two, stands by itself very nellos are attractive and lend a regal air ture the sensitivity of the text settings and well; however, there is a tonal plan across to the work. Though the work requires the exciting climaxes. The end result is all three pieces, and the opening B mi an above-average accompanist, the im music of great beauty and delicacy. nor of this third motet is particularly pact of the piece, with its idiomatic vo Emmanuel-God with Us was com cal writing, is greatly enhanced by the missioned by the Albany (New York) Pro keyboard part. The medium length of Musica and received its premiere in De this three-verse setting should interest cember 1994. The extended work com needed for an 1100- church choirs as well as middle school or prises three motets: the first uses two verses Organist member church in downtown Royal developing high school choirs. Its echo of the familiar 0 Come Emmanuel; the Oak, Michigan. Part-time position. effects will provide an exciting antipho second is a complete Magnificat; and the Work with multiple staff. nal experience for the ensemble. third sets Christina Rossetti's beautiful Responsibilities include Sunday Robert Jones poem Love Incamate (sometimes known morning worship services, weekday as Love Came Down at Christmas). The rehearsals. Three-manual Schantz three can be separated by narrations pro organ. Send resume to: vided by the composer, making them ideal Search Committee Emmanuel-God with Us for an Advent or Christmas choral pro Royal Oak First United Methodist Church Robert H. Young gram at church, or the readings can be 320 West Seventh Street SSAATTBB omitred for concert performance. Royal Oak, MI48067 Tel. 810/541-4100 Plymouth, PJMS 100, $1.25 "0 Come Emmanuel" is a tender and Fax 810/541-0192 gorgeous setting that allows the beauty Sweet Was the Song of the original tune to shine with no Applications accepted llmil October 1,1995. Robert H. Young hint of over-arranging. A long pedal- SSAATTBB Gentry (Intrada, sole agent),JG-123, $1.10 There Is No Rose ofSuch Virtue MARK FOSTER MUSIC COMPANY Robert H. Young Pub/;shQr of Qua/;t.lJ Choral Music SSAATTBB Gentry (Intrada, sole agent), JG-l96, $1.10 Rene Clausen Three Christmas Miniatures Robert H. Young SATB NEW SATB BEST SELLERS SSAATTBB MF 2108 Lord's Prayer MF 0223 All That Hath Life Gentry (Intrada, sole agent), J G-2017, $1.1 0 MF 2110 Psalm 67 MF 2047A Set Me As a Seal MF 2111 Let All the World MF 2087 Prayer 0/ St. Francis To Him We Sing MF 2120 I Lift Mine Eyes MF 3048 AJubilant Song Robert H. Young SSAATTBB FREE reference copies FREE Carus-Verlag Gentry (Intrada, sole agent), JG-516, $1.10 J .'\11 upon requesl: ~ ,~ caWog CV Texas composer Robert H. Young has created a considerable number of short u 0fU muSIC comPRny Christmas anthems, four of which are V(217) 398-2760 or FAX (217) 398-2791 J P.O. Box 4012, Cbampaign, IL 61824-4012 USA SEPTEMBER 1995 PAGE 75 poignant after the G-major ending of Three Christmas Miniatures takes only makes this not overly difficult to achieve the Magnificat. three and a half minutes to perform. The for most choruses. The tenors and basses Sweet Wits the Song and There Is No texts are poems by Richard Crashaw, are featured alone in two brief but im Rose of Such Virtue each open with a Marion Lockhead, and John Erskine. These portant phrases, and the work ends quiet, bare melody followed by a chordal are simple and extremely tuneful settings, loudly, making this the most difficult of response. Gradually, the harmonies be the most modest of all those reviewed but the pieces discussed. come more lush, textures thicken, and touching in their simplicity and sincerity. All these pieces can be done by com rapturous climaxes are reached. Both Some may find this set a bit too sweet. petent church and high school choruses works end quietly. These pieces were To Him ~ Sing, on the text ''A babe is that can handle the divisi. They also will this writer's introduction to Robert born all of a maid," is the thickest be enjoyed and appreciated by the very Young's choral works, and their ravish textured piece, requiring the greatest amount best college and community choruses. Au ing beauty resulted in a passionate in and frequency of division of parts, al dience response to these works in public terest in his music. though the moderate range throughout performances and in church services has been highly favorable. All five pieces are recorded on one compact disc available from either publisher. ),"~ J~';o~ "6, J> l£. ,"""" ",r David Griggs-Janowet ~t:a~on~ §t"[EEt[n9~ '" ~ W....., ~t ~e® - ~ ~ t:r,~~ ~§b. by Jame~ dfdle" Carols of Splendour ~ (TTBB/Keyboard or Orchestra) effo~ Plymouth: PM-302 fit The First Shephe1'ds (Los prime1'os pastores) A Winter Triptych ~'. Francisco J. Nunez (TTBBlHomlHarp or Piano) ~ftJ (SATB/Keyboard or Orchestra) Three-part treble, piano, maracas, conga Plymouth: PXW-300 Plymouth: PM-117 Boosey & Hawkes, OCTB6771, $2 (SATBlHomlHarp or Piano) Chamber or Full Orchestmtion available on rental from pUblisher Plymouth: PXW-I06 This festive work divides the traditional ~'. ftJ"" Invitatory and Holiday Fugue Spanish poem into three movements re ~ El Noi de La Mare (SATB/Keyboard/Opt. Bass Trombone) flecting dawn, meridian, and twilight of The Child of the Virgin Music 70: M70-647 the Christmas celebration. The first move (A Catalan Carol) ment, also divided into three sections, (SATBlPiano/Opt. Handbells) For more infonnation contact: Friedman· Goetz· Mace Productions begins slowly with a soloist imitating a Lawson-Gould: LG-52763 J J Worth St.· New York, NY' 10013 (212) 431-1088 (voice). (212) 226-6788 (fax) crowing rooster announcing the birth of Christ. The movement ends with an in tense "Gloria" section permeated with syn copated dance rhythms. The congas and maracas are integral parts of the accom paniment and could not be left out with out marring the effectiveness of the work. The voicing expands briefly to five parts in the last two measures of this move ment but contracts to two parts in the in Vienna, Austria brief second movement, which describes the reaction of the shepherds to the news November 14-17, I 996 of Christ's coming. The festive final move ment begins with the piano imitating ring Extension tours throughout Austria and ing bells, transformed by the choir into Hungary are available. antiphonal "alleluia" statements. For detailed information, The first and second treble parts are please contact Ken Vander Kodde at: nearly identical in range and tessitura (generally in the d1 to f2 range). Each movement begins with a solo passage, but International Gateway Travel Nunez suggests that performance by a small group also is acceptable. No singing 800-548-9267 translation is furnished for the Spanish 305-486-4856 text, although a literal translation and 2514 W. Oakland Park Blvd. phonetic pronunciation guide are both Fort Lauderdale, FL 33311 included. The choral writing is not exces- PAGE 76 CHORAL JOURNAL sively difficult, although the rhythm of uncomplicated, although the tight jazz work pleasingly juxtaposes modal, the first movement would be challenging voicing in the middle section could prove pentatonic, and major-minor harmonies, for many ensembles. This exciting work challenging to ensembles unaccustomed with fanfarelike moments at the opening would be an excellent choice for a high to the idiom. Brief SSA and TTB divisi and closing. The basic construction of school or college women's choir or for a sections appear in the final chorus, but the forty-seven-measure piece, with in younger group seeking musical challenges. ranges and tessituras should pose no prob struments and voices swapping statements Ross C. Bernhardt lem for most ensembles. This arrange of similar thematic and harmonic mate ment would be a refreshing addition to a rial, should appeal to directors desiring a high school or church holiday program. celebratory Christmas anthem that re Ross C. Bernhardt . quires brief preparation time. Instrumen For All Your Miracles tal parts are included in the choral score. Simon Sargon Robert Jones SATB, keyboard Transcontinental, 991336, $1.20 A Great and Mighty Wonder Paul Feder Described as a "Chanukah anthem," SATB, handbells, brass (two trumpets, The Guiding Star For All Your Miracles is a light-rock com two trombones) Daniel Pinkham memoration of the Feast of Lights. Stylis Augsburg Fortress, 11-10245, $1.15 SATB, T solo, organ, optional brass quartet tically, this relaxed yet spirited composition Thorpe (Theodore Presser, sole agent), could be termed "contemporary Jewish," Paul Feder's A Great and Mighty U70n 392-03027, $4.50 as its English lyrics are adapted from the dercombines handbells, brass, organ, and Hebrew Al Hanissim, a liturgical text for choir in a festive setting of this John Ma Daniel Pinkham's cantata for Christ Chanukah. Never mentioning the holi son Neale text. This composition features mastide, The Guiding Star, is a suite of day by name, the essence of the celebra lean writing for brass, handbells (two oc five movements describing the birth of tion is revealed through solos that alternate taves between E~ and g~), and organ, with Christ: "Carol," "Narrative," "Hymn," with choral sections giving thanks for modest vocal ranges. Harmonically, the "Collect," and "Fulfillment." The texts God's "miracles . . . mighty acts . . . wondrous deeds . . . gifts of love." The voice parts and accompaniment are easy to perform, while the unspecified solos Music: are written within the range dl to al>2 (the Tbe Intellnationallanguage solo responsibilities could be divided). The tessituras and voicing would allow per Icons in Sound - A new series featuring formance by SSA or SAC groups, utiliz the finest in sacred Slavic choral music from ing the upper three lines (the tenor never goes below g). With simple but bracing all eras. Series Editor Dr. Anthony Antolini is harmony and a most comfortable feel, one of today's leading specialists in the de For All Your Miracles is a pleasant and ==== velopment and use of transliterations and engaging piece of music. "singing" English translations of Slavic choral music. In Michael Braz cluded in this repertoire are works by Glinka, Arensky, Lvov and Titov. American American Harmony - A series Go, Tell It on the Mountain featuring choral music for church and Howard Helvey (arr.) Harmolly· concert, from the major schools of SATB, keyboard :Series. America's past. Edited by Dr. Craig Beckenhorst, BP1438, $1.15 timberlake~this series offers editions of the highest his torical, stylistiC, and musical ihtegrity.lncluded in this rep This new arrangement of the tradi tional Christmas spiritual features Howard ertoire are works by Billings, Belcher, Chadwick and Helvey's skillful writing for the piano. Fol Parker. lowing an unaccompanied choral intro duction, the piano initiates the main body of the work "lazily" (according to Helvey's marking), in moderate swing tempo with ~"lPARACLIETE PRIESS colorful jazz harmony. The choral writ T P.o. Box 1568 Orleans, MA 02653 ing is predominantly homophonic and SEPTEMBER 1995 PAGE 77 are drawn from a variety of sources, in The one exception to this is the middle information about the composer and the cluding the Bible, English poetry, and the movement ("Hymn"), which is in G ma culture from which the music comes. The composer himsel£ The piece was written jor and sung unaccompanied. The tenor text of this piece was written by the com in 1994 for the Kentucky All-State Cho solo in both the second and fourth move poser and introduces students to the story rus. The twelve-minute cantata demon ments requires an experienced singer with of Chanukah, a real help to singers and strates the clarity of declamation that a comfortable gl and good intonation. conductors who have not grown up in characterizes Pinkham's choral writing as The edition is handsomely published by the Jewish tradition. This selection illus well as a rather complex and chromatic Thorpe. Performance of this work will be trates the fact that Chanukah does not sense of tonality. Consequently, careful greatly enriched by the addition of the have the same significance to Jews that preparation would be needed to master optional brass quartet, which mainly Christmas has to Christians. The music is the work's intricate scales and harmonies. doubles the organ part in the festive first highly reflective of the festive part ofJew and last movements. ish tradition, very accessible in vocal George S. r Chu ranges and tessituras, and repetitious Take. a. step . .up . this . year!. enough to aid learning. The accompani KapeDmeJster Choir stools ment is easy, with an occasional flourish. Custom Designed & Built All in all, this is a fine choice for a young Single and Hanukkah Dedication school choir seeking to explore the music Double David Eddleman of many cultural traditions. Height Four equal parts, keyboard Charlie Fuller Kjos, 6231, $1.25 This selection is a part of the Success ful Sight Singing Series by Kjos, which The Hills Are Bare at Bethlehem/ includes music from many cultures. AB a o Trinity, 0 Blessed Light part of this series, each edition includes Michael Larkin SATB, C instrument, keyboard Concordia, 98-3153, $1.25 Like a good hymn, this anthem has CHRISTMAS two texts, indicated above as the two titles for the composition, making this work possible for performance at Christmas or Z. Randall Stroope's at times proper to the praise of the Trin AMERICAN CHRISTMAS/ ity. The text "The Hills Are Bare at AMERICAN RHAPSODY Bethlehem" is by Royce J. Scherf, and the for mixed voices, strings or brass, harp, other is based on a sixth-century Latin percussion and organ text. The musical setting was commis sioned for the one-hundredth anniver Eleanor Daley's sary of Trinity Episcopal Church, STRANGE PLACES Washington, D.C. Vocal and instrumen a pageant for adult, youth and children's choirs tal parts are moderately easy, well marked, and practical for a good church choir. For ---_..•.. ---- the c-instrument part, the composer sug o TANNENBAUM, SATB gests using oboe, violin, or C trumpet. John Carter The alternation of choral sections with instrumental sections provides a clear de SHEPHERDS, HE IS BORN, SATB Noel Goemanne lineation of the structure. In the first half of verse three, the keyboard part is op CHILD IN THE MANGER. SSM Dede Duson tional, allowing for performance by only the obbligato instrument and chorus. This GLAD TIDINGS, SA Mark Reeves presents the only real challenge for a com petent church choir. Art excellent piece of NOEL!, TIBB church music, this selection has utility Steven Sametz (with dual texts), skill in musical setting, and viriety in texture. ALLIANCE MUSIC PUBLICATIONS, INC. (713)780-7750 FAX (713)781-0639 Joe Hickman 3330 Hillcroft, Suile H • Houston, Texas 77057 PAGE 78 CHORAL JOURNAL Holiday Harmonies Tempo and meter changes allow thought The Huron Carol Gregg Smith fully diverse expression. In the second Steve Schuch (arr.) SA, keyboard, glockenspiel, chimes, celeste carol, "Green Grows the Holly," the first, SSAATTBB, drum Laurendale, CH-1088D (chorus part), second, and fourth verses use close har Night Heron, $2.50 $1, CH-1088 (full score) $3.95 monies (though the slightly altered final verse enjoys some rhythmic expansion). This appealing setting of 'Twas in the This set of three distinctive carols, Verse three is set in a more free harmonic Moon of Wintertime includes extensive commissioned by Keynote Arts Associ and rhythmic style. The longest of the historical notes. Jesuit missionary Jean de ates for the 1993 Children's Holiday three carols, "Green Grows the Holly" Brebeuf wrote the text in 1642 in the Choral Festival, will be a worthwhile lasts two minures. "On Christmas Eve . Huron Indian language. It was translated challenge for any SA choir, mature or the Bells Were Rung," the rollicking poem into French by Paul Picard and from young. The vocal part-writing in each by Sir Walter Scott, is set mostly for uni French to English by Jesse Edgar piece is easily within the range capabili son singing with a bit of two- and three Middleton. The tune, a French Canadian ties of most young singers and is some part writing requiring good balance folk song, antedates the text. In this na what repetitious, though chromatically among the voice parts. As with the first tivity text, God is addressed as "Gitchi and rhythmically interesting. Each carol two carols, the ranges are most practical. Manitou," the magi are chiefs, and the employs glockenspiel (or handbells) and A key to the successful performance of manger is a lodge of broken bark. Images chimes. Piano may be substituted for this piece is rhythmic vitality. of nature throughout the text were sig the celeste, while the keyboard part sug This wonderfully fresh set of new car nificant to the Hurons and can speak gests either organ or synthesizer. Each ols may become frequent performance fare effectively to singers today as well. piece is in varied strophic form. for excellent children's choirs. Each of the Shuch's arrangement captures the spirit '~ Hail to the Days," a traditional three carols is available individually, and of the carol very well. It is rhythmically Christmas poem in three verses, is set to a separate instrumental parts for the full set uncomplicated, employing occasional lively and angular unison melody; only are available for purchase or rental. ostinatos. Where the images are sparse, so parts of verse three require part-singing. John Buehler is the choral writing. Where encouraged for Church and Christmas • Martin Banner· Eugene Butler· Michael Cox .::::::--:--.. • David Davenport • Walter Ehret • Hal Hopson • Theron Kirk • Robert Kreutz • Michael Larkin • Patrick M. Liebergen • Austin Lovelace • John Mochnick • Dana Mengel • Carl J. Nygard, Jr. • Scott Oyer· Martin Rice • Dan Schwartz • Crawford R. Thoburn Call or write for your free copy of the 1995 Choral Music Cassette Tape and the Songs of Celebration Thematic Guide to our 1995 FREE CASSETTE! releases for Church and Christmas, which feature new music by these exceptional writers. CARL FISCHER® 62 Cooper Square, New York, NY 1 0003 1-800-762-2328 SEPTEMBER 1995 PAGE 79 by the text, the chorus divides into as to large church choirs and college or com youth choir, or a high school choir that many as eight parts. While the individual munity ensembles that wish to expand might need some experience in simple part lines are not difficult, some entrances their cultural awareness. singing. The accompaniment supports but are challenging due to the thick har MarkM Ring does not duplicate the voice parts. monic context. Only the bass part re Elwood H Brown quires extensive range: with frequent E's. The first soprano tessitura lies high dur ing the opening and closing of the In a Star-Lit Stable piece. The harmonizations are very at David Catherwood Jesu, ofa Maid Thou Wouldest Be Born tractive throughout the four through SATB, keyboard Ronald Arnatt composed stanzas. Melody is transferred CPP/Beiwin, GCMR03638, $1.10 SA, S and M-S soli between parts, sometimes in parallel oc E. C. Schirmer (ECS, sole agent), 4936, taves. The accompanying drum part is This lovely Christmas anthem is rela $1.15 extremely simple. The overall effect is at tively easy; opening with a unison melody mospheric and successful. Schuch's final in the women's voices, followed by a repeat This selection is more appropriate for E-major chord is surprising but effective. of the melody in unison male voices sup an advanced high school or university choir This four-minute setting is recommended ported by a two-part accompaniment in than for young voices. The text is from a the sopranos and altos. The middle section sixteenth-century manuscript, and the calls for sopranos in unison or soprano composer has captured its mystical nature solo. The last section is largely in four parts wonderfully. The modal counterpoint is with a very brief divisi in the soprano line. tricky in places as are some of the mensural The ranges are very modest with no ex changes. Ranges are moderate, and the two tremes (basses divide at the very end with solos are very attractive. A refrain in Latin bass 1 on a B, and bass 2 on E). This piece alternates with verses in old English. would be useful for a small church choir, a Charlie Fuller JOYFUL MUSICALS FOR ADVENT AND CHRISTMAS These favorite musicals by Nylea L. Butler-Moore and Hal H. Hopson allow children and youth to learn more than just music because participants learn important Bible lessons and have fun with contemporary drama, tool Including easy-to-use, step-by-step teaching plans for ten sessions, the musicals teach the Bible story, characters, and themes as well as great musicl They provide music accessible for choirs of any size and ability level, and are easily staged and produced. IntroPaks offer the best way to save! Each IntroPak contains one Leader/Accompanist Edition, one Singer's Edition, and one Listening Tape. The Very First Night Before Christmas, Q Cok~sbUlY by Nylea L. Butler-Moore CALL OR VISIT YOUR COKESBURY STORE CA5-010861. IntroPak. $19.95 ORDER TOLL FREE: 1-800-672-1789 A Shepherd's Story, by Hal H. Hopson • • • CA5-383765. IntroPak. $19.95 Satisfaction Guaranteed! Prices subject to change without notice. PUbAf;:r'/P~ Shipping and handling extra. PAGE 80 CHORAL JOURNAL Lo, How a Rose sists of broken chords exclusively and tal(es and secular choral works, songs, organ Steven Curtis Lance (arr.) the melody only during interludes. and piano pieces, and chamber and or SATB, flute Charlie Fulfer chestral works. John Haberlen's edition of Latham, CH-I0, 90¢ Noef! includes an English text by Martha Jones Fowler (the original French text is This arrangement of the familiar carol, not printed) and is a welcome addition to with English text, features a lovely flute Mysteriosa rosa est the Romantic choral/organ repertoire. obbligato. The melody is somewhat more C. Griffith Bratt Organ and the optional (but recom embellished than in most settings, and all SATB mended) violin parts are included in the voice parts are rhythmically independent. Paraclete, PPM093192, $2.10 last few pages of the octavo. Choral ranges Much of the setting employs imitative are conservative (up to If for soprano), counterpoint in the accompanying lines. The poetic musings of Edith S. Hayes but the extended solo part (fifty-seven Challenges include wide leaps in the bass flow from ancient Latin to haunting En measures of the work's total seventy mea line and low ranges for both alto and glish ("Mysteriosa rosa est that in the win sures) spans the range from b~ to a held g2 bass. Lance's harmonization is appealingly ter darkness dies"). Bratt reflects this in (or b~2 ad libitum). The lyric solo pas fresh, with occasionally unexpected choral chant and exquisite dissonance. sages are punctuated by three brief, ho accidentals. For advanced church choirs Brief moments of text-painting are wo mophonic choral proclamations, the last this piece provides a useful alternative to ven into the imaginative choral writing. two based on previously sung material. the standard settings. While the ranges are not demanding, the Frequent triplet figures appear through MarkM Ring disjunct melodies and unusual intervals out the vocal parts (both choral and solo) are challenging. The score lacks a time as well as in the organ/keyboard and vio signature, yet the layout is clear and facili lin parts, providing a lilting Ii feel. Noef! tates the score reading. Hayes's Christmas will make a fine addition to any Christ Mary's Holy Child poetry is delicate yet profound, and Bratt mas choral program and is recommended Charlotte Algozin has formed an eloquent setting for it. for school or church choirs of modest SAB, keyboard Camfyn Banta abilities with a capable soloist available. Choristers Guild, CGA664, 95¢ Timothy Snyder The text and tune of this new selection are highly reminiscent of the familiar stan Noel! dard "Jesus, Jesus, Rest Your Head" and Theodore Dubois Noel would meet similar programming needs. SATB, S or Bar solo, keyboard, optional Louis L. White The text includes almost all the usual violin SATB Christmas images (shepherds, star, stable, Kjos, Ed. 8721, $1.25 Boosey & Hawkes, OCTB6669, $1.10 manger, wise men) and mentions the child's coming need for protection from King Theodore Dubois succeeded Saint Hilaire Belloc's poem, resembling me Herod. Ranges and tessituras are appropri Saens as organist at La Madeleine in Paris, dieval English carols in form and style, is ate for young voices. The echo singing and serving from 1877 to 1896. During his set with colorful harmonies that give this optional notes provided make this a fille tenure at the Paris Conservatory, Dubois 'work a distinctive charm. The homopho selection for even the least experienced SAB composed in virtually every genre, includ nic texture of the first verse (reminiscent choir. The keyboard accompaniment con- ing opera, ballet, oratorio, cantata, sacred of the Alfred Burt carols) gives way to Provides full scale patterns with complete instructions. Enables each church to involve its membership in the creation of costumes for an entire. IRENE COREY DESIGN ASSOCIATES* 5304 Junius St., Dallas, Texas 75214 (214) 821-9633 We make satin sculptured Angel wings to order *CHRISTMAS ORDER TAKEN UNTIL 10-10-95 Catalog $2.00 SEPTEMBER 1995 PAGE 81 antiphonal writing in the second verse will find White's work a refreshing addi all harmonic variety and transitions be and briefirnitative polyphony in the third, tion to their holiday repertoire. tween verses, which incorporate melodic ending with the refrain 'Md the small Ross C Bernhardt and rhythmic fragments of the tune, child Jesus smile on you." Tessituras are complement the vocal writing. Those fa generally comfortable, although the so miliar with the traditional setting of this prano and tenor extend to g2 and gl, tune will notice the more colorful and respectively. The piece is not overly diffi Once in Royal David's City rich harmonization of this arrangement, cult, bur the unexpected dissonances and Henry J. Gauntlett which uses sevenths, ninths, and other harmonic progressions would be challeng Mark Shepperd (arr.) added tones. Above-average church or ing for inexperienced singers. High school, SATB, keyboard high school choirs that do not have ac college, and experienced church choirs Descant (Intrada, sole agent), cess to an organ for the David Willcocks/ DA0739307, $1.25 A. H. Mann setting might welcome this arrangement to their libraries. This noble processional hymn, which Robert Jones opens the King's College, Cambridge, an nual Lessons and Carols service, receives elegant treatment here. The primary at traction of the arrangement is its timely Rejoice, Rejoice, Believers modulations from verse to verse. Instead Michael Larkin (arr.) of remaining in the traditional key of G SATB major, the tonal scheme of this arrange MorningStar, MSM-50-0012, $1 ment encompasses A (in the introduc tion), F, D~, E~, and AI> major. The Michael Larkin uses a Swedish folk accessible vocal writing fluctuates between song (Haftrones lampa fardilY to set three unison, duet, and four-part textures, in stanzas of this familiar Advent hymn text. cluding two unaccompanied phrases in The first stanza is in unaccompanied four verse three. Although two of the four part harmony; the second features an verses from the original appear intact, tiphony between high voices (soprano and verses three and four contain words from alto) and low (tenor and bass), often ex other stanzas of the traditional setting, panded to three-part harmony in each perhaps to achieve a more climactic end range; and the third verse begins with ing. The piano accompaniment is one of tenors and basses in unison while the so the strengths of this arrangement. Its over- pranos and altos sing a double descant above. Antiphonal fanfare figures on the word "Rejoice!" introduce and bridge the stanzas. This piece should be easy to learn (the tune is a-a-b-a) with its straightfor ward harmonies and repetitive patterns. Simply . .. the best! The horn-fifth fanfare figures, attractive tune, variety of textures, and comfortable ranges should make it fun to sing. The piece would be ideal for a good mixed high-school-age choir and probably for MASTER MUSIC MANAGER adults as well. Larry D. Cook Easy-to-use computer resources for school and church musidans Madntosh® and Microsofi® WindowsTM versions include: There Is No Rose Recordings Library Membership Files Music Library Randall Giles Personal Directory Inventory Manager DataDesigner SA chorus, SA soli Easily customize any module, or design your own! Paraclete, PPM09412, 80¢ Call MANAGER SOFTWARE for a FREE demo disk. Composed in burden/verse manner, this (800) 282-9220 • Monday-Friday • 9-5 Eastern Time refreshing setting of the well-known six teenth-century English carol will challenge Also available for church musicians ... Hymnlndex™ Worship Planner the fIllest women's groups. Each of the five PAGE 82 CHORAL JOURNAL verses is preceded by the burden, and in monizations and accompaniment. Will Three Mountain Carols the fmal repetition, the composer adds solo iam Walker's The Southern Harmony Shirley W. McRae (arr.) soprano and alto parts in cantus-firmus (1854) is cited as the primary source for Unison, Orff instruments fashion above the choral statement. several of the tunes; among these are the Choristers Guild, CGA654, $1.10 Though the ranges are quite reasonable, opening movement of the suite, "Come long phrases combined with chromatic and Away to the Skies," as well as "Babe of These American carols may be per somewhat angular part-writing will test Bethlehem" (originally "Ye Nations on formed individually or as a delightful set. advanced choirs at almost every interval. You I Call") and "Cradle Song" (based on All three carols are duets for voice and Excellent women's choirs will be rewarded "Restoration"). Gordon also draws on flute obbligato. The Orff instrumenta for their efforts with this fine piece. other nineteenth-century revivalist sources tion differs in each carol. "I Saw Three John Buehler in the Baptist tradition and on an Mri Ships" (the Appalachian melody) is scored can-American spiritual for "Sister Mary for soprano and alto glockenspiels, alto Had-a But One Chile." The vocal ranges metallophone, alto and bass xylophones, are modest, with occasional three-part di triangle, temple blocks, and tambourine. This Babe ofBethlehem visi in both male and female voices. The "See Jesus, the Savior," a carol from Ken Samuel Gordon (arr.) simplicity of the tunes and their harmo tucky, is scored for soprano, alto, and bass SATB, flute, oboe, violin, cello, bells, nizations makes this work accessible to metallophones, bass xylophone, finger piano, percussion both high school and church choirs. With cymbals, chime bar, and suspended cym National, SGC-100, $4.50 instrumental accompaniment it would bal. "Cradle Hymn," an Appalachian carol make a lovely fifteen-minute piece high on a text by Isaac Watts, is scored for This suite of seven carols arranged by lighting America's musical heritage in a soprano, alto, and bass metallophones, Samuel Gordon uses musical material de modern setting. Instrumental parts for finger cymbals, and chime bar. Guitar or rived from early-American sources. Gor the chamber ensemble are available sepa dulcimer also may be used. don successfully preserves the clarity and rately (SCG-100A, $17). In the Orff tradition, the instrumen simplicity of the tune sources in his har- George S. T. Chu tal parts are ostinati using few pitches. is pleased to announce the appointment of Simon Carrington as Director of Choral Activities and Artist in Residence Mr. Carrington comes to KU after 25 years as a performer and Degrees and Opportunities musical director of The Kings Singers. He brings a world of experience in singing, conducting, touring, recording, and artistic • BA, BM, MM, and DMA degrees in leadership to his new position. vocal performance • BFA degree in TheatreNoice For information on undergraduate or graduate programs, admissions, ·MM and DMAin choral conducting auditions, scholarships, and assistantships, contact: ·A wide variety of outstanding choral and Department of Music and Dance operatic performance opportunities 452 Murphy Hall The University of Kansas Lawrence, KS 66045-2279 913.864.3436 SEPTEMBER 1995 PAGE 83 All three carols have limited vocal ranges interlude leads to "Da droben vom Berg," The first piece ("In a Manger in 2 (b to d ). Each carol contains performance a folle-carol setting in which the women Bethlehem") begins with tenor soli develop suggestions to add variety to the repeti carry the unison yodeling melody while ing into two-part tenor/bass contrapuntal tions of the verses through alternation of the men accompany in "folk dance step" writing and concludes with the first tenor the instruments. The obvious intent is flex fashion. All text is in English. This simple carrying the melody while the full men's ibility, as instruments may be substituted pair of alpine folk pieces is quite easy and choir supports it with richly harmonic hum to create an imaginative performance with will be enjoyed by both high school and ming. Ranges in this carol are moderate maximum student involvement. adult choirs of nearly any size. (tenor 1 sings up to ffil, and bass descends Carolyn Banta John Buehler to E), and there are a few instances of a divisi baritone part. The piano accompa niment is harmonically supportive. The second carol ("The Weary Trav'llers Two Austrian Alp Carols Two Carolsfor Christmas Laid Them Down to Rest") is strictly ho Donald H. Ripplinger (arr.) AlUll Hoddinott mophonic with chromatic part-writing. SATTB, piano TTBB, piano Ranges in this piece are also moderate Sonos, S-0221, $1.15 Paraclete, PPM09403, $2.80 (tenor 1 ascends to gI, bass sings down to A). Wide dynamic ranges at voice-range These two carols, nicely arranged for Set to texts by the composer's father-in extremes characterize this excellent piece. performance together, may be new to law, the Reverend Llywelyn C. Huws, these John Buehler many and will be an excellent addition to two excellent pieces were premiered by the the lighter side of nearly any Christmas Pendyrus Male Choir in 1992. While many choral program. The set begins with a advanced high school men's choirs will find lilting setting of three verses of the seven this piece an attainable challenge, more Two Masterworks for the Christmas Season teenth-century Tyrolean folk carol Lippai. mature men's groups will more likely pos Patrick M. Liebergen (arr. and ed.) The simple folk-style arrangement for four sess the control and nuance required for SATB, keyboard voices uses moderate ranges. A brief piano performance. Harold Flammer (Music Sales, sole agent), A-6868, $1.50 \'-"""""""""""""""""""""" 1. 0 Lord, Come Down Dietrich Buxtehude ~ GUIDEPOSTS TO SINGING@ ~ 2. Rijoice! The Morning Star Shines Bril!fot ~ eustomized. Vocal Warmup eassettes ~ Johann Kuhnau ~ A Self-Directed Cearning Approach to Voice Study ~ \~ \ In this collection of two chorale set tings by Buxtehude and Kuhnau, a key ~ rf~ Zol zain sholem (Let There Be Peace) Recording by The Cambridge Singers Joshua Jacobson (arr.) and Specially Priced Boxed Sets! SATB, keyboard HaZarnirlWorld Music, 024, $1 1) New printed scores have been added to the Collegium Choral Series - including four Christmas classics - making . , I Zol zain sholem is a medium-tempo available, for the fIrst time ever, a total of 20 of the most ,:I Yiddish folk song with roots in Eastern requested choral scores recorded by The Cambridge Singers. Europe. An extremely simple A-B-A se New titles include compositions by J.S. Bach, Brahms, lection, it consists of a unison chorus of Palestrina and Sheppard, all exactly as edited for The \ vocables ("ya-pa" and "yam-pam"), a call Cambridge Singers. Choral Directors may receive a complete i and-response verse of "zol zain sholem," set at Collegium's cost + shipping and handling. and a solo version of the vocables (accom 2) John Rutter has also announced the release this fall of 'f panied in instrumental fashion by the cho a new recording by The Cambridge Singers, "The Images of i rus). With an easy bass-chord keyboard Christ" - including choral classics by Palestrina, Byrd, Barber, accompaniment, the piece continues with Casals, Rachmaninov, Tchaikovsky and Bruckner. additional verses, substituting various 3) Finally, two specially priced boxed sets - each with two other Yiddish words for "sholem." In a popular Collegium CD's - are now available: "Masters of footnote, Jacobson suggests ways to adapt English Church Music" and "Treasures of English Church the song for Chanukah (using substitute Music." Call for more information or to order any of these words such as "dreydel" or "Iatkes") and new products from Collegium. even proposes examples of English lyrics as replacements. The spontaneity of the added lyrics suggests audience participa Call Toll-Free: 1-800-367-9059 tion. Lacking a strong ending, Zol zain sholem should not be considered a con cert piece but rather a vehicle for shared performance with the audience-perhaps the most important role for a folk song. Michael Braz -C]- SEPTEMBER 1995 PAGE 85 Reviewed in Brief , ' , Editor'sNote: The folloWing additional pieces~e sUitable for December holiday programming., j. ..,.... .' '. " , An Advent Carol Gesu bambino Maria Wanders through the Thorn Jody W. Lindh Pietro Yon (arr. Bob Krogstad) Shirley W. McRae (arr.) Unison, keyboard SATB, SAB, or SSA, keyboard SATB, organ, finger cymbals, clarinet or Choristers GUild, CGA648, 85¢ Hal Leonard, 08596579 (SATB), oboe 08596580 (SAB), 08596581 (SSA), $1.10 Kjos, 8703, $1.10 A highly rhythmic carol for children's voices, paraphrasing several Advent scrip Choral writing that is modest in diffi An English text combines with "Kyrie tural passages. Rangeltessi tura very ap culty but which requires careful tuning eleison" repetitions in this haunting Ger propriate, with melodic movement and balance characterizes this colorful ar man carol from the fifteenth or sixteenth primarily diatonic. A delightful addition rangement. The keyboard part provides century. Four-part textures throughout, in to a holiday program for young singers. rhythmic and harmonic support and is cluding some unaccompanied sections and especially helpful in the SSA version. a passage for instruments only. A good choice for both church and school choirs. Away in a Manger John Leavitt (arr.) The Holly and the Ivy SA, keyboard Carl J. Nygard, Jr. (arr.) See Amid the Winters Snow Hal Leonard, 08596591, $1.10 Two-part, keyboard John Goss Hinshaw, HMC-1380, $1 John Bertalot (arr.) A lovely setting of the William J. SATB, organ, two trumpets, congregation Kirkpatrick tune Cmdle Song; useful for a A traditional arrangement of the fa Augsburg Fortress, 11-10358, $2 women's choir or a good children's choir. miliar carol, probably best presented by Attractive harmonies, moderate ranges, elementary-aged singers. Three verses are A brief "alleluia" response for congre idiomatic piano accompaniment. Highly set in straightforward fashion above a gation is included in this arrangement recommended. (SATB and SAB voicing simple pianistic accompaniment. Moder after each of the six verselrefrain pairs of also available.) ate ranges, well-crafted. the familiar Humility hymn tune. The textures vary through each verse; a "Hail, thou ever blessed morn" refrain is set iden Balttlalow The King's Singers Choral Library: tically in all but the final verse. Peter Tiefenbach (arr.) Christmas Collection SSA, harp or keyboard Bob Chilcott/Philip Lawson (eds.) Augsburg Fortress, 11-10496, $1 Hal Leonard, 08740306, $5.95 Sing a Song ofChanukah Michael Isaacson Each of the two verses of the 1567 text Eight pieces (sacred and secular) in ar SATB, keyboard is sung by a soloist or unison section (d! to rangements performed by the King's Sing Transcontinental, 991389, $1 g2), with SSA chorus in the refrain and ers. Various six-part voicings are used coda. Arpeggiated chords in the accompa throughout (SATTBB, SSATTB, etc.). A jaunty setting of a secular Chanulcah niment would be most effective with harp. Much of the music is quite difficult, par text. The piece uses unison, two-part, and ticularly Geoffrey Keating's arrangement four-part textures in its treatment of an of The Twelve Days of Christmas. Worth energetic and lively melody highlighting The Bleak Midwinter investigating for advanced gtoups. the interval of an augmented second. Roy Ringwald Some challenges in the inner voices and SATB, keyboard in the keyboard part. Shawnee, A-1969, $1.10 Maoz tsur Jerome Epstein (arr.) A fine, reflective alternative to other set SATB, brass, timpani Unto Us a Child Is Born tings of the Christina Rossetti poem. Mod Thorpe (Theodore Presser, sole agent), Kenneth T. Kosche erate ranges, homophonic texture. An 392-03033, $1 Two-part, keyboard, optional C instrument expressive setting that will be a favorite of Choristers GUild, CGA694, $1.10 SATB choirs of all ages. Straightforward, chorale-style arrange ment of this Chanul,ah hymn. Hebrew A simple and melodic original setting and English texts are provided. A trum of this familiar text. The final two pages pet descant part is included in the octavo; are a setting of the hymn tune Lobt Gott, brass ensemble and timpani parts avail ihr Chlisten with a simple, descant. able separately. Contributors to Reviewed in Brief: Michael Braz, Elwood H. Brown, John Buehler, Corydon J. Carlson, Charlie Fuller, Joe Hickman, Robett Jones, Mark M. Ring. PAGE 86 CHORAL JOURNAL r;---',:·'--:-:"~'~--''''':.~·""-·--r::'·--::-·,:":~-~:~:-:~··,-·~:~-:' ~:·---~.::-::-~·"'~·'_-.7:7·_·~~~~:"~::7'::-:'--r-~~-:-:·:',7~;::-;:'~;'!:',~:;:~,-::'~~;:'"-:~~~''~··-:~:-:-~.~:~:-";-:-::-"'-'7::7;·~~·-''':::··-.... -·:~·=-~,:'~.-:·~-:T:.~'':";,~·~~.7;·~-::~-~':'7':~-·r:-,7;"·.:;-:'7:;-~-:::-:--~r"'::-''":-''-:~'''-;:~'~J .::1 i '1 Warm l.0FE ~.our Sturdy "comb" binding .. lies flat for use on a FRO MAL F RED music stand or piano The Complete Choral Warm-Up Book A Sourcebook for Choral Directors by Russell Robinson and Jay Althouse Here's a book for anyone who directs or plans to direct-a choir... any choir, of any age, including children's Warm-ups are shown on cllOirS through adult volunteer right-facing pages ... easy to use in rehearsals choirs, church, school or Big 10 1/2"x 6 3/4" community choirs. pages ... the same size as choral music The main body of the book consists of 211 warm-ups ... enough Left-facing page contains information about the corresonding warm-up on for years of rehearsals. Most include the following page information on the purpose of the warm-up (and, as the authors state, if a warm-up has no purpose it isn't We've taken great care to make worth doing), teaching techniques The Complete Choral and suggestions for use. And they're Warm-Up Book the most easy-to-use carefully organized into several book of warm-ups ever! Just look at practical categories: some of the features: Warm-ups to Begin the Rehearsal III It's jammed with handy information ... Transitional Warm-ups a virtual "everything you ever wanted Warm-ups with Fun Texts and Syllables to know about warm-ups" for the Chordal Warm-ups choral director. Warm-ups Featuring Interval Training III The well-organized index makes ffnding jazz/Pop/Swing Warm-ups just the right warm-up a snap. Need a spe just for Church Choirs cial warm-up for the study of madrigals? Rounds Vocal flexibility? Or breath support? Check A Iso included are dozens of photos the index to ffnd it fast! THE COMPLETE CHORAL illustrating correct posture and vowel III Use it for reference or take it with you to WARM-UP BOOK formation as well as chapters entitled: rehearsals. It's also a valuable resource for A Sourcebook for Choral Directors choral methods classes! by Russell Robinson and Jay Althouse Why Warm-up? Warm-up Considerations for Different Whether you're an experienced 11653 ...... $19.95 Age Groups choral director or just starting your The Warm-up Before the Performance first job, The Complete Choral Procedures and Precautions Warm-Up Book belpngs in your Rest and the Voice personal library. A2S0 ORDER NOW FROM YOUR FAVORITE MUSIC DEALER REVIEWERS THIS ISSUE ADVERTISERS Carolyn Banta George S. T. Chu Joe Hiclanan INDEX Longview Community College Hamline University Division of Music SEPTEMBER 1995 500 SW Longview Road Saint Paul, MN 55104 University ofNorth Carolina Abingdon Press (Cokesbury) ...... ••...... •...... 80 Lee's Summit, MO 64081 at Wilmington ACFEA Tour Consultants ...... •..••...... •. 18 Larry D. Cook Wilmington, NC 28403 ADDSYS Publications ...... 12 James Adler, composer ...... ••...... •...... 76 Ross C. Bernhardt 3609 Davis Street Alfred Publishing Company ...... :... 19, B7 Lansing Community College Skokie, IL 60076 Robert Jones Alliance for Arts and Undemanding ...... •..••...... 24 P.O. 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C4 Carl Fischer, Inc ....•...... •...•...... •...... 79 Forderverein Inrerkulrur e.Y...... •...... •...... 57 Mark Foster Music Company ...... 75 Mark Foster Music Tours ...... 10 Gate\vay Music Festival ...... 5 Hammond Music Service ...... 61 BOOK and MUSIC PUBLISHERS and 11:.~ritage· Festivals ...... 7 Moses Hogan Chorale ...... 12 COMPACT DISC DISTRIBUTORS Inrermedia, Inc. (Stage Accents) ...... 63 Send books, octavos, and discs for review (two copies, if possible) to: Inrernational Choral Kathaumixw ...... •...... 39 International Gateway Travel ...... 76 ChoralJourna~ P.O. Box 6310 Inrropa InrernationailUSA, Inc ...... •...... •..•...... 72 Lawton, Oldahoma 73506 Jeffers Handbell Supply, Inc...... 16 Kapellmeister Enterprises, Inc ...... 78 Telephone: 405/355-8161 Keynore Arts Associares ...... 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Street, Suite 305, New York, NY 10018, USA, Te[: (212} 239-2756, Fax: (212) 563-5587 ~ 1996 GREAT CONCERTS ABROAD AND MIDAMERICA PRODUCTIONS ~ GREAT MUSIC IN GREAT VENUES All programs include: Round-trip Air from New York Double Occupancy in Superior first class hotels • Two Meals per Day Professional Concert and Tour Administration a All Concerts All Sightseeing • All Tour Bus Transportation a All Taxes Central/Eastern Europe Wednesday, June 19 to Sunday, June 30 C93 Twelve days/ten nights in Austria and the Czech Republic with concerts in Prague, Kromiriz, & Vienna. Peter Tiboris conducts Mozart's Requiem. $2,149 per person Central/Eastern Europe Monday, June 24 to Friday, July 5 C93 Twelve days/ten nights in Austria and the Czech Republic with concerts in Prague, Kromiriz, & Vienna. Don Neuen conducts Handel's Messiah. $2,149 per person Central/Eastern Europe Monday, June 26 to Friday, July 7 C93 Twelve days/ten nights inAustria and the Czech Republic with concerts in Prague, Kromiriz, & Vienna. Peter Tiboris conducts Beethoven's NinthSymphony and Dvorak's Te Deum. $2,149 per person Prague International Choral Competition Monday, June 24 to Friday, July 5 .. Two divisions: youth, and adult/university; open to SATB, 40-60 voice choirs only. Open to 5 choirs in each division by audition tape only. Tour to Vienna, Bmo, and Prague where semi-finals and finals occur. Grand prizes awarded in both divisions. After finals competition, final concert to be held with orchestra and all choirs. Tapes being accepted now. $2,149 per person Italy Monday, July 1 to Friday, July 12 '!)G Twelve days/ten nights in northern and central Italy; concerts in Venice, and Florence (plus tour stops in Rome & Bologna). Peter Tiboris conducts Rossini's Stabat Mater. $2,599 per person International Children's Choir Festival in Central Europe Monday, July 1 to Friday, July 12 Fb Twelve days/ten nights in Austria and the Czech Republic. Jean Ashworth Bartle conducts concerts in Prague, Kromiriz, & Vienna. $1,999 per person • Accepting Now through November 1, 1995 $100 per person • December 15,1995 200 per person • January 15; 1996 300 per person • March 1, 1996 400 per person • Balance due Sixty days prior to departure Note: the first three deposits are nonrefundable when made. If your program should be cancelled by Great Concerts Abroad, all monies are refundable. Prices are based on foreign exchange rates, air fares, and air fare regulations in effect as of the publication date of the itinerary and are subject to change, as are program details, without notice. For additional information contact Sara Bong at 2121239-2756. American Choral Directors Association Post Office Box 6310 Lawton, Oklahoma 73506-0310 FIELD STUDIES INTERNATIONAL Lloyd R. Meeker, President Presents CARNEGIE HALL 1996 CONCERT SERIES SUNDAY Ohio Youth Chorale SATURDAY Christian School Chorale FEBRUARY 18 Robert Bass-Conductor APRIL 13 Tom Council-Conductor Illinois Youth Chorale Georgia Youth Chorale 8:00 PM 8:00 PM Eph Ehly-Conductor Norma Raybon-Conductor SUNDAY North Carolina Youth Chorale SUNDAY Southern Band Festival MARCH 10 Andre Thomas-Conductor APRIL 21 Alabama Youth Chorale 8:00 PM 8:00 PM Eph Ehly-Conductor ($495.00) SUNDAY Texas Youth Chorale SUNDAY National Children's Choir MARCH 17 Charlene Archibeque-Conductor APRIL 28 Henry Leek-Conductor Ohio Youth Chorale National Youth Choir 8:00 PM _8:00 PM ($550 WIORCHESTRA) Robert Bass-Conductor ($515.00) Anton Armstrong-Conductor SUNDAY Mississippi Youth Chorale SUNDAY Missouri Youth Chorale MARCH 24 Weston Noble--Conductor JUNE 9 Robert Bass-Conductor Tennessee Youth Chorale 8:00 PM 8:00 PM Don Neueu-Conductor FRIDAY Kentucky Youth Chorale MONDAY Canada Youth Chorale APRIL 5 Rodney Eichenberger-Conductor JULY 1 Florida Youth Chorale 8:00 PM 8:00 PM Anton Armstrong-Conductor .. .,: Many other dates are also available. Your choir may join YOllr own or another state Jar pelformallces. Please call Jar more in!ormatiop and additional dates. YOUTH CHORALE AT CARNEGIE HALL • $499 per person, except where otherwise noted • Certificate of Achievement for each student Orientation Session upon arrival • Guest Conductor for your performance Three nights hotel accommodations in quad rooms Rehearsal Hall expenses and rental • All hotel taxes, both city and state • ~amegie Hall rental and promotional fees Hotel baggage handling upon arrival and departure (1 bag per .Accompanist fee person) • 'Bus transportation to rehearsal and performance on • Attend a Broadway Show performance day, where necessary • Admission to the Observation Deck of the Empire State • Field Studies Escort to accompany group on sightseeing Building activities • Admission to the Statue of LibertylEllis Island National Parks • Dance Party with refreshments • Shopping and sightseeing along Fifth Avenue and South Stret1t • Audio Cassette of your performance (one tape per school) Seaport • Macy's gift card and various restaurant discounts • Commemorative T-shirt • One chaperone free for each 20 paying • Commemorative Plaque for your School We will happily help you with meals, transportation and other exciting New York activities, to make your planning velY simple. 228 West 47th Street. New York, N.Y. 10036 1 (800) 445-7074 NY (212) 575-8065 FAX (212) 575-8482