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CHORALJO John Silantien Barton L.Tyner Jr. EDITOR MANAGING EDITOR

COLUMNS ARTICLES From the Executive Director ...... 2 The Psychologist and From the President...... 3 the Conductor: Solving From the Editor ...... 4 Rehearsal Problems

Letters to the Editor ...... 4 Using Awareness of Personality Types ...... 9 Research Report ...... 61 Christine D. de Catanzaro, editor by Barbal'a PoLlacl, and Harriet Simons

Musica Practica ...... 63 Nina Gilbert, editor

Compact Disc Reviews ...... 65 Richard J. Bloesch, editor

Book Reviews ...... 69 Stephen Town, editor

Choral Reviews ...... 75 The Relationship between COlydon J. Carlson, editor Nonverbal Communication Repertoire and Standards and Conducting: Committee Reports ...... 30 An Interview with 1997 Honor Choir Applications .... 33 Rodney Eichenberger ...... 17

and Workshops ...... 41

In Memoriam ...... 52

Index to the ChoraL Journal, Volume Thirty-six ...... 53 by Scott W. Dorsey

Advertisers Index ...... 88 RE H EARSAL BREAI

MAY 1996 PAGE 1 FROM THE EXECUTIVE DIRECTOR AFFILIATED ORGANIZATIONS San Diego Honor Choirs INDIANA CDA NATIONAL HONOR CHOIRS offer exciting growth opportunities for CHORAL DIRECTORS ASSOCIATION singers and choral directors. Singers experience ensemble music-malcing under President - Patricia Wiehe a guest conductor while choral directors observe and learn that conductor's 2435 Glenhill Drive Indianapolis. Indiana 46240 rehearsal strategies and conducting technique. Treasurer - Paula J. Alles National honor choirs have developed significantly over the years. Our first efforts with 1471 Altmeyer Road this activity involved presenting only one honor choir on a national convention program. The Jasper. Indiana 47546 lasHwonational conventions, however, have each featured three honor choirs; -- .IOWA ... CHORAL DIRECTORS ASSOCIATION ACDA has further expanded its honor choir program for the 1997 National Conven­ President - Janiece R. Bergland tion in San Diego, California. Honor choirs representing children's choirs, junior high 2534 155th Street schools, and two-year colleges will perform, and we will present the ftrst-ever Community Floyd. Iowa 50435 Secretary/Treasurer - Bruce A. Norris Honor Choir. Each will perform on Saturday, March 8, 1997; at the end of the afternoon 420 Maple Street program, me Community Honor Clioir ana-me Two-Year College Honor Clioir will-­ Mondamin. Iowa 51557 combine to premiere the 1997 Raymond W. Brock Endowment Composition. MINNESOTA In this issue (pp. 33-40) you will ftnd the application forms for all four San Diego honor CHORAL DIRECTORS ASSOCIATION President - Allan Hawkins choirs. Carefully observe the various application deadlines for participation in these choirs. 500 South Jefferson Street The success of the San Diego honor choirs lies with ACDA members. If you conduct New Ulm. Minnesota 56073 in one of these four R&S areas, I encourage you to choose your best singers to audition. Treasurer - Richard F. Edstrom 2305 Winfield Avenue. North May one of your singers be among the hundreds who will participate in this exciting Golden Valley. Minnesota 55422 portion of the 1997 National Convention. MONTANA CHORAL DIRECTORS ASSOCIATION Gene Brooks President - Peggy Leonardi 161 Eastside Highway Hamilton, Montana 59840 ACDA's National Honor Choirs Treasurer - John Haughey 2126 Northridge Circle 1997 NATIONAL CONVENTION Choir (Anton Armstrong, conductor) • Women's Billings. Montana 59102 San Diego, California • Children's Honor Choir Honor Choir (Jo-Michael Scheibe, conductor) (Anton Armstrong, conducror) • Community 1991 NATIONAL CONVENTION NEBRASKA Honor Choir (Earl Rivers, conductor) • Junior Phoenix, Arizona • Junior and Community College CHORAL DIRECTORS ASSOCIATION High School Honor Choir (Nancy Cox, Honor Choir (Douglas McEwen, conductor) President - David H. Moore conducror) • Two-Year College Honor Choir 1989 NATIONAL CONVENTION 12740 Deauville Drive (William B. Hatcher, conductor) Louisville, Kentucky • Junior High School Honor Omaha. Nebraska 68137 1995 NATIONAL CONVENTION Choir (Sally Herman, conductor) Treasurer - Clark Roush Washington, D. C. • Honor Boychoir aames 1985 NATIONAL CONVENTION York College Linon, conductor} • Children's Honor Choir Salt Lake City, Utah • Junior High School Honor P.O. Box 438 aanet Galvan, conducror} • Men's Honor Choir Choir (Rodney Eichenberger and John Rutter, York. Nebraska 68467 (Allen C. Crowell, conductor) conductors) OHIO 1993 NATIONAL CONVENTION 1983 NATIONAL CONVENTION CHORAL DIRECTORS ASSOCIATION SanAntonio, Texas • Children'sHonorChoir(Doreen Nashville, Tennessee • Children's Honor Choir Rao, conductor} • Eighth- and Ninth-Grade Honor (Jean Ashworth Bartle, conductor) President - Peter G. Jarjisian School of Music. Ohio University Athens. 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 institutional 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 International Federation for Choral Music. Odessa, Texas 79462 ACDA supports and endorses the goals and purposes of CHORUS AMERICA Secretary/Treasurer - Cheryl Wuson in promoting the excellence of choral music tllroughout 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 CHORAL DIRECTORS ASSOCIATION The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. President - Kevin Meidl Recognizing its position of leadership. ACDA complies with the copyright laws of the United States. Compliance with these laws is 916 South Park Avenue a condition of participation by clinicians and performing groups at ACDA meetings and conventions. Necnall. Wisconsin 54956 © 1996 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: Secretary/Treasurer - William H. Ross 405/355-8161. All rights reserved. The Choml Journal (US ISSN 0009-5028) is issued monthly, except for June and July. Printed in 814 West Larabee Street the United States of America. Porr Washington, Wisconsin 53074 ~ Second-class postage is paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address EdPress changes to Choral Journal. Post Office Box 6310, Lawton, Oklahoma 73506-0310. Volume Thirty-six Number Ten

PAGE 2 CHORAL JOURNAL FROM ACDA THE PRESIDENT OFFICERS Time for Advocacy PRESIDENT Lynn Whitten ROM THE ACDA Leadership Conference last summer to division conventions College of Music, University of Colorado this spring, and from the November special issue of the Choral Journal to Boulder, Colorado 80309 many of the workshops listed in this May issue, ACDA continues its focus on VICE-PRESIDENT advocacy at the local and national levels. In John Haberlen School of Music, Georgia State University addition to continuing these efforts within our University Plaza organization, however, we must advocate for Atlanta, Georgia 30303 our profession in the political arena. Some feel PRESIDENT-ELECT that politics should not touch our art, but we Jim Moore School of Music, East Texas Baptist University can't afford to be uninvolved when the arts, Marshall, Texas 75670 both in education and public life, have been TREASURER held hostage recently by our federal govern­ Elaine McNamara ment. For example, our hard-fought win in 2863 NE Twenty-third Avenue Lighthouse Point, Florida 33064 securing a place for the arts as part of Goals 2000 and the ensuing National Standards for Arts EXECUTIVE DIRECTOR Gene Brooks Education is in danger of being reversed. The P.O. Box 6310, Lawton, Oklalloma 73506 growing community chorus movement, partly 405/355-8161 • Fax: 405/248-1465 fueled by NEA support, also may be in jeop­ CENTRAL DIVISION PRESIDENT ardy. We ignore politics at our own peril. Charles K. Smith School of Music, Michigan State University It is heart-warming and significant that the East Lansing, Michigan 48824 President of the United States has responded to the resolution of ACDA's Advocacy EASTERN DMSION PRESIDENT Commission, formally adopted by one hundred ACDA leaders last August. Please let Melinda Edwards your love of choral music and realization of its power and meaning in our lives and in 111 Glen Cove Drive Glen Head, New York 11545 the lives of those we instruct transcend political biases in the reading. NORTH CENTRAL DMSION PRESIDENT Bruce W. Becker Dear Lynn: 12027 Gantry Lane HANK YOU very much for writing and for sharing the American Choral Directors Apple Valley, Minnesota 55124 Association's resolution. I understand your concern about recent proposals that threaten to NORTHWESTERN DIVISION PRESIDENT T Randi Von Ellefson erode the quality of arts education in the United States. Department of Music, Whitworth College While I am determined to reduce government spending, I remain dedicated to supporting agencies Spokane, Washington 99251 like the National Endowment for the Arts and the National Endowment for the Humanities, which help SOUTHERN DIVISION PRESIDENT to enrich our national life by bringing the arts to big cities and small towns actoss the country. As you well Kenneth Fulton School of Music, Louisiana State University know, cultural agencies bring tlle arts and humanities to our schools, museums, theaters, and libraries, Baton Rouge, Louisiana 70803 instructing and engaging citizens of all ages, and giving needed support to artists, performers, and thinkers SOUTHWESTERN DIVISION PRESIDENT who enliven our spirits, challenge our minds, and touch our hearts. Glenda Casey Your comments are a welcome affirmation of my deep commitment to cultural programs, and I Berkner High School 1600 East Spring Valley Road look forward to your continued involvement as we work to ensure that our nation's artistic legacy will Richardson, Texas 75081 remain vibrant for the generations of Americans to come. You have my best wishes. WESTERN DIVISION PRESIDENT Sincerely,

James O. Foxx ~.1 '.. ",.'. ,_ _ 2554 Twain Avenue J f\.A.-'\ ~_> Clovis, California 93611 INDUSTRY ASSOCIATE REPRESENTATIVE Expand Your Choral Knowledge sl;l:::~~~::~~:-c.------'I-n-""die 15real<15etween spnng maaness anatne start of new actiVities III die fall, 49 Waring Drive consider adding to your professional expertise. Summer choral festivals and work- Delaware Water Gap, Pennsylvania 18327 shops noted in this issue may be of interest. Consider, too, different strategies for PAST PRESIDENTS COUNCIL rehearsals. For example, Bernice McCarthy's 4MAT System (© 1987, 1994, Excel, William B. Hatcher ) ffi h School of Music, University ofIowa Inc. can inspire e ective teac ing pans.I Al ternativeI y, you might choose to study Iowa City, Iowa 52242 some body of choral literature in depth. The first major book in ACDA's Composer Maurice Casey Elwood]. Keister Series, Larry Schenbeck's Joseph Haydn and the Classical Choral Tradition, is available Walter S. Collins Colleen]. Kirk Harold A. Decker Theron Kirk from Hinshaw Music, Inc. As we challenge ourselves to grow intellectually and Morris D. Hayes Diana]. Leland musically, we learn how to motivate and challenge singers in our care. That is how we Charles C. Hire Russell Mathis best strengthen our cause, how we fundamentally advocate for choral music. Warner Imig H. Royce Saltzman David Thorsen Hugh Sanders Lynn Whitten

MAY 1996 PAGE 3 FROM EDITORIAL THE EDITOR BOARD EDITOR John Silantien Call for Copyeditors Division of Music, University of Texas at San Antonio INVITE applications from ACDA members who would like to serve as San Antonio, Texas 78249 210/691-5680 volunteer copyeditors for the Choral Journal in the coming volume year. ASSOCIATE EDITOR After serving in that capacity, copyeditors may be considered for appoint­ Nina Gilbert ment to the Journal Editorial Board. If you would like to work as a copyeditor, please 7717 Random Run Lane, #T2 Falls Church, Virginia 22042 send me a resume and a sample of your writing as soon as possible. 703/698-7690; e-mail: [email protected]

MANAGING EDITOR ~~-~ __" ----~~~~~~~c~~~~UpcomzngFocusJssuesc,---" _",," ._~c~_c','~ ____ "_ BilrtohL Tyn:iirjr;- In August, the Journal will feature several articles dealing with the African-Ameri­ P.O. Box 6310 Lawton, Oldahoma 73506 can spiritual. The September issue will celebrate the 1996 anniversaries of Anton 405/355-8161; fax: 405/248-1465 Bruckner and William Billings with articles on the masses and motets of Bruckner and e-mail: [email protected] a reexamination of early American performance practices. For future focus issues we EDITORIAL ASSISTANTS ---JcnniferE:-Dielmann invite article sUbmissions on die music of13ranms ana-Schubert to commemorate Division of Music, University of Texas at San Antonio their 1997 anniversaries. Finally, considering the success of our May 1993 issue San Antonio, Texas 78249 focusing on world music, we are soliciting articles for another issue devoted to 210/691-5680; c-mail: [email protected] multiculturalism. Potential authors should contact me for writer's guidelines and Allison S. Lowe 3575 BurntleafLane deadlines for submissions. Birmingham, Alabama 35226

John Silantien EDITORIAL BOARD MEMBERS Chester Alwes School of Music, University of Illinois 1114 West Nevada Urbana, Illinois 61801

Richard J. Bloesch School of Music, University of Iowa Iowa City, Iowa 52242

David L. Brunner LETTERS Departmcm of Music, University of Central Florida P.O. Box 161354 TO THE EDITOR Orlando, Florida 32816 Corydon J. Carlson To the Editor: P.O. Box 9517 Bolton, Connecticut 06043 FTER ATTENDING ACDA division or national conventions, I often like to Christine D. de Catanzaro A:write to performing groups that particularly appealed to me. Such correspon­ School of Music, Georgia State University dence sent to the director, along with copies to his or her administration, serves to University Plaza give the group support and recognition. Unfortunately, many concert programs do Atlanta, Georgia 30303 not include the ensemble's address. It would be very helpful to have the performing Mitzi Groom Departmem of Music and Fine Arts organization's address appear on its program. Tennessee Technological University Most cordially, Box 5045 Cookeville, Tennessee 38505 Vito E. Mason Sharon A. Hansen Silver Spring, Maryland Departmem of Music, School of Fine Arts University of Wisconsin-Milwaukee P.O. Box 413 Milwaukee, Wisconsin 53201

Robert Provencio California State University-Bakersfield 9001 Stockdale Highway Bakersfield, California 93311 CORRECTIONS: The address for Scott Dean printed in the March Timothy W. Sharp 1996 109 Seventh Avenue, North issue of the Choral Journal (p. 38) was incorrect. He can be reached at Franklin, Tennessee 37064 First Presbyterian Church of Bellevue; 1717 Bellevue Way NE; Bellevue, Stephen Town Washington 98004; telephone: 206/454-3082 (0) and 206/827-3448 (h); Deparrmcm of Music Northwest Missouri Scate University 206/637-7081 (fax). In the April 1996 ad for Hal Leonard Corporation (p. Maryville, Missouri 64468 28), the phone number for the August 2-3 workshop in Washington, D.C., COORDINATOR OF STATE NEWSLETTERS was incorrect. The correct number is 800/666-1665. Also in the April issue, Richard Kegerreis the R&S column on Senior High School Choirs (p. 51) was authored by One Craig Drive Hunrington Starion, New York 11746 Michele P. Kaschub, not Janice Bradshaw. 516/423-0701

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by Barbara Pollack and Harriet Simons

Editor's Note: This article is based on presentations made by personal dynamics of rehearsals. Both have worked in this area the authors in 1995 at the Preparation of Tomorrow's prior to this collaboration.1 Conductors Conference in Buffalo, New York, and the ACDA The authors adopted the basic premise that in knowing National Convention in Washington, D.C. ourselves better, we can more easily understand and appreciate others, especially those whose personality types differ from our Why do some rehearsals energize conductors while others own. Thus, if conductors understand their personality types drain them? Some rehearsals cry out for a celebration afterward; and utilize an awareness of personality differences, they may others induce headaches, anger, insomnia, and the like. What have an added tool for improving the musical and emotional can conductors do when they experience periods of uncertainty results of their work. The goals of this collaboration were 1) to and self-doubt before, during, or after rehearsals? By focusing apply the understanding of personality types to the problem of inward, they often can find the resources needed to deal with feeling "stuck" in rehearsal (those times when the conductor is not feeling right about certain aspects of their rehearsals. displeased with the progress of a rehearsal but is unable to Conductors, like other administrators of complex organiza­ effect a change), 2) to search for a solution to the problem, and tions, must communicate well with a number of people in a 3) to determine if the proposed solution worked. variety .of situations. Administrators' leadership skills, includ- ing interpersonal communication, are crucial to their effective- A Conductor's Experience ness. Since choral ensembles include people who exhibit various As a conductor I know when things are going poorly in personality characteristics, conductors face an additional chal- rehearsal and when I am inwardly cursing the ensemble, un- lenge. Furthermore, aspects of managing an ensemble outside able, momentarily, to deal with the situation in a positive way. I of rehearsal, such as planning, scheduling, interacting with staff am not referring to simple errors that need fixing. I am speak- ___;ancLensembleJllemhe.rs,_ancLdealing_witl:LC:on1:lict,~~a=-_-,jUJ.ng_o£my~eelingJ:hauJLrrJthiug~aw£uLandJhatJ_am, for the tively more or less difficult to accomplish, depending on the moment, absolutely stuck. Since I decided years ago that I conductor's personality type. wanted to do some work on my occasional bouts of feeling Collaboration on this article grew out of a curiosity both stuck, I was looking for a new way to address this situation. authors have about how conductors can be more successful in Attending workshops over the years, reviewing videotapes of rehearsal. Although the authors come to this topic from differ- rehearsals, and observing colleagues at work all added to my ent professional backgrounds, they share an interest in the growth as a conductor, but nothing had directly addressed the dilemma of being caught in that "stuck" place during a re­ Barbara Pollack is a clinical psychologist in Denver, Colorado. hearsal. The work that Barbara Pollack was doing with conduc­ Harriet Simons is Director of Choruses at the State University tors (teaching them about how personality types affect of New York at Buffalo. communication) was of great interest to me. I knew that she had collected information about various conductors' personality

MAY 1996 PAGE 9 types, their strengths, and their self per­ MBTI Vocabulary ceptions. As I learned more about the theory of typology, 2 I realized that each Orientation of Energy-. -Extraversion-Introversion Attitude personality type could become stuck as a Direction offocus, source ofenelr;J1 result of different situations and that there E EXTRAVERSION INTROVERSION I were some shared characteristics of this Energized by outer world Energized by inner world condition. I was curious to pursue this Focus on people, things Focus on thoughts,concepts. theory further. Active Reflective . ! A PhI . , P . Breadth of interest ···'··.·~'u rid~~f:::d~tr~~~:~'si~veif·~'."7 .. "'!'- Th~~ye?s-~N::~~yp@ ~I:sr:~~~~3 Interaction Concentration' a widely used and highly regarded tool Outgoing Inwardly directed for describing personality differences, was created by Katherine Briggs and Isabel

.' I Briggs Myers. The MBTI is based on the PerceiVing Function." Sensing~Intiiition ------.-.-:Vork.oCCa:if]ung, who observe~ ana-- . Ways oftaking in information Identified fundamental processes III the everyday behaviors of all humans. Ac­ S SENSING INTUITION N cording to Jung's theory, all humans do Facts Meanings two things-take in information and Data Associations come to conclusions about it. The MBTI Detail Possibilities describes this process and identifies the Reality-based Hunches, speculations energy source of individuals-namely, Actuality . Theoretical whether one derives energy from internal Here and now Future sources or from engaging and interacting Utility .. fantasy with the outside world. Jung concluded that people were born with a natural ten­ dency toward one personality type and Judging Function-Thinking-Feeling that their environment (family, culture, Ways ofcoming to COllclusion schooling) could either encourage or dis­ T THINKING FEELING F courage their natural tendency. Thus, al­ Analysis Sympathy though we can access the different ways Objective .. Subjective of seeing the world and drawing conclu­ Logic Humane sions about it, we prefer one way. Impersonal Personal Critique Appreciate The Myers-Briggs Reason Values Criteria Type Indicator In order to determine our preferences, the MBTI asks questions that reveal the Orientation to Outer Life-·-.Judging-PerceivingAttitude behaviors in which we are likely to engage Attitude toward extemal world (making or not making a list before going • i to the supermarket, or choosing social ac­ J JUDGING PERCEMNG P tivities over solitary ones, for example). Organized Pending. There are four behavioral categories with Settled Flexible. two choices in each (Figure 1). Planned Spontaneous Extraverts (E) go out into the world Decisive Tentative to get their energy and stay there as they Control one's life Let life happen process it. Introverts (I), on the other Set goals Undaunted by surprise hand, take in the energy from the out­ Systematic Open to change side world and retreat with it. We all function in introverted and extraverted ways but generally prefer one way or the Figure 1. Vocabulary of the Myers-Briggs Type Indicator™ other. In rehearsals conductors have to © 1986 by Jean Kummerow. Published by the Center for Applications of Psychological Type, Inc., Gainesville, Florida. Used by permission. Myers-Briggs Type Indicator and MBTI are registered switch back and forth quickly between trademarks of Consulting Psychologists Press, Inc., Palo Alto, California. engaging with the ensemble and pro­ cessing information internally.

PAGE 10 CHORAL JOURNAL The second letter (S or N) concerns an INTJ preference. Since the goal of the the way in which we take in information, experiment was to decrease the bouts of how we perceive the world. Practical, re­ The MET! is a tool for feeling stuck in rehearsal, the first step was ality-based individuals who rely primarily to define the term. The signs of being on their five senses for taking in informa­ focusing on type stuck included 1) watching the clock (not tion are generally categorized as S (Sensa­ in the usual state of trying to beat it, but tion) types. The ones who more often use development, especially wondering how much longer the rehearsal the real world only as a jumping-off point had to be endured), 2) noting something for their ideas are categorized as N what Jung referred to as very specific that was not going well and (iNtuition). Ns are particularly interested not doing anything about it, 3) noting a in possibilities, hunches, processes, and the least developed problem, following through with correc­ patterns. During rehearsals, conductors tions,and then realizing that the initial move rapidly between focusing on the function, that which assumption was wrong, 4) sensing a lack details of the score and bringing out the of eye contact with the group and being underlying meaning of the music. causes people buried in the score, or 5) just experiencing The third letter (T or F) indicates increased irritation or frustration. We how we draw conclusions. People who to become "stuck. " knew that an INTJ conductor's strengths have a thinking preference (T) rely on included 1) good planning ability, 2) high logic, critical analysis, and evaluation to level of preparation, 3) intense desire to make decisions. Feeling-type decisions involves using the theory of typology to solve problems, 4) a generally assured (F) are made by individuals who use further one's development and increase and confident demeanor, 5) expectation deeply held personal value systems and self-Imowledge. Finally, the understand­ of perfection from self and others, and their emotions to make decisions. Con­ ing of type is useful in observing and 6) an extremely focused and goal-directed ductors move between giving feedback interpreting the complex interactions attitude. Although conductors with based on critical evaluation ("too loud;" among group members. The MBTI is a other MBTI preferences share these "needs to be more staccato") and the tool for focusing on type development, strengths, they are a particular hallmark music's emotional impact. especially what J ung referred to as the of the INTJ conductor. The fourth letter (J or P) describes our least developed function, that which On the other hand, INTJ conduc­ orientation to the world. People who ex­ causes people to become stuck. tors can encounter some dilemmas such hibit a planned, orderly, logical way of as 1) an unrealistic expectation of per­ dealing with the world are probably Js The Study fection, 2) a tendency toward impatience, (Judging.) They function best with order In this case a psychologist with an ENFP 3) an inability to notice small changes and schedule and need minimal informa­ preference worked with a conductor with because they have only the "big picture" tion to make decisions. Conductors who are Js, for example, like to finish every­ thing in the rehearsal plan. The opposite type of people, Perceivers (P), are inter­ ested in open-ended possibilities and collecting new information. Enjoying spontaneity and flexibility, they find it more difficult to make decisions because they like to keep their options open. They can, however, easily adapt to the chang­ Experience Counts! ing demands of each rehearsal. Concert Touring Specialists on 5 CONTINENTS IdentifYing one's. MBTI .preference is person certified to administer and inter­ pret it. One can learn about the four dimensions and associated characteristics, Experience the Tradition! however, from available materials with­ Tuscany International Children's Chorus Festival out having to take the MBTI itself. Once a conductor identifies his or her July 8 -13, 1996, Doreen Rao, Conductor/Clinician Myers-Briggs type, then what? The first July 14 - 20, 1997, Jean Ashworth Bartle, Conductor/Clinician level of understanding provides an aware­ ness of personality differences that is Musica Mundi, Inc. 18009471991 111 Main Street, Suite 2 • Los Altos, CA 94022 much more powerful than a mere in­ Phone 415 949 1991 • Fax 415 949 1626 tellectual understanding. The next level

MAY 1996 PAGE 11 in mind, 4) failure to use praise and en­ substantial internal vision. Conductors who forever," 3) "I need to whip this group into couragement frequently, 5) an inclination are INTJs will share some attitudes such shape, fast," and 4) "They certainly couldn't to focus on small details, thus becoming as 1) "I mustn't waste time taking breaks," have studied the music, because if they velY critical when frustrated or arlXious, 2) ''I'd better correct as many mistal<:es as I had, they would lmow it by now." and 6) a proclivity toward hiding their can or else they will sing it incorrectly Type Theory and Conductors According to Jungs theory, the first half of our life enables us to become confident in using the natural"preferenceso£our-per­ sonality type. Jung's theory of typology also maintains that we each have the chal~ lenge ofdeveloping our least preferred func- tions. Therefore, as we mature we can :,,-,=,"-~;';"'-n,"-"----I--+--:expanCl ancriearn moreabouCilie prefe=r--- ences of our opposite type. This sounds Available for Men's, Women's, cmd Mixed Chorus like a logical and orderly process. In reality, much negative emotion and ambivalence Send for are associated with developing our oppo- • FREE CATALOG • site side. It is as if we decided to write our names with our less-preferred hand. It is a 170 N.E. 33rd Street Ft. Lauderdale, FL 33334 task we can perform, but it is taxing and Phone (305) 563-1844 Fax (305) 563-9006 embarrassing. A left-handed signature penned by a right-handed individual does not represent that person's best writing. We experience similar frustrations when we try to see the world from the perspec­ Established 1957 tive of our opposite personality type.4 A Psychologist's Perspective INTROPA PRESENTS: So we had to determine how to apply International Church & Music Festival J ung's theory to Harriet's problem of feel­ (presented by Fe8tCorp8) Held annually: odd years Berne, ing stuck in rehearsal. After articulating Switzerland, even years Covington, England her strengths and beliefs based on type, Cruise Festival- MarchlAprillMay we began to develop the opposite side of Atlanta Choral Festival - AprillMay her natural preferences. First, we discussed Myrtle Beach Choral Festival - AprillMay rehearsal behaviors that Harriet wanted to change. This occurred through an ex­ Nashville Choral Festival- AprillMay tended period of meetings, correspon­ Williamsburg Choral Festival - AprillMay dence, and sharing ofvideotaped rehearsals. Vienna International Youth & Music Festival - July My first job as a psychologist and learning British International Festival, Nottingham - July specialist was to point out positive things London New Year's Day Parade Event that she was doing in rehearsal. I analyzed (Choirs and Orchestras) how Harriet corrected things, and we talked about other ways she could achieve Paris New Year's Day Parade Event (Choirs and Orchestras) a desired result. In order to practice view­ ing things from other perspectives, we 4950 Bissonnet, Suite 201 used the model of type to reframe a situa­ Bellaire, Texas 77401 tion. For example, INTJ types are ratio­ (713) 666-3838 nal and logical; they go clearly down a path to its end. Sometimes it is difficult CALL TOLL FREE (800) INTROPA (but neceSSalY for growth) to get them to 1066 Saratoga Avenue, Suite 100 go off-track a little. One focus of our San Jose, California 95129 work together was to find ways for this (800) 947-TOUR INTJ conductor to respond in a less lin­ ear way to rehearsal problems.

PAGE 12 CHORAL JOURNAL Much of our initial interchange con­ MBTI and the Expanded aspect of the MBTI letters.s For example, sisted of my alerting Harriet to the wide I found that within the J category there range of positive behaviors that she al­ Analysis Report was a great latitude in my score. On one ready exhibited and was ignoring be­ aspect of Judging, I was quite extreme. cause they were what she always did or A Conductor's Perspective On another, I appeared to be more mod­ what she did automatically. Our rela­ A recently developed expansion of the erate. Therefore, I decided to place an X tionship was similar to that between a MBTI provided us with an unexpected on the page of descriptions at the points coach and player. Initially, Harriet's cor­ tool for zeroing in on my strengths and that represented my position on the scale respondence was full of questions about weaknesses. Through carefully worded of each letter in my personality type. whether we were wasting our time and phrases and paragraphs, the authors of Looking at the placement of these Xs whether this was truly a worthwhile this scale delineate in greater detail each helped me to see at a glance where my project. She was very hard on herself ,-----______and, to a lesser extent, me. Her primary questions were: why isn't this going faster; what difference do these little changes malce anyway, and why in the world is this psychologist so excited by them; and, most important, how can we be sure that the ensemble's performance won't suffer because of this experimentation in rehearsal? Then Harriet hit upon a sys­ tem that provided a focus and a way to change some behavior. A Conductor's Perspective I decided to keep a journal in which I wrote about my bad rehearsals. That was a simple, easy thing to do, and it assisted me greatly in achieving "clarity in per­ ception," a characteristic of the type of person who is the INTJ's opposite (ESFP). For example, a review of my journal record showed that many of my bad rehearsals were bad for only the last fifteen minutes. I was clearly trying to do either the most inappropriate or the most difficult thing in the last minutes of a long rehearsal when everyone knows (except me and perhaps other Js) that only frustration will result. The journal and videotapes helped me to see other ramifications of my personality type­ where it worked for me and where it worked against me. As a professional con­ ductor with many years of successful ex- reasonably well in areas in which I ini­ tially may not have been comfortable. But I still had my preferred way of doing things, and when things did not seem to be working my way, it was difficult to access the other side of my personality with any confidence. Prior to my col­ laboration with Barbara, I was unaware that there was a way to look at alternate aspects of one's personality for the pur­ pose of modifYing one's rehearsal style.

MAY 1996 PAGE 13 GMadrig4

CJJinner• by crlrpfC' Paul Brandvik extremes were. It then became a simple rehearsal moments; rather, I tried to re- '

PAGE 14 CHORAL JOURNAL necessary skills for all conductors, but Although in the beginning I feared that I feel as if I am still growing. Working INTJs often assume that there is no other adopting new methods would make re­ with the MBTI has helped me to know way to solve a problem. Since it is the hearsals slower and less efficient, and per­ myself better. As a result, my students, natural first choice, other approaches seem formance quality would suffer, I have my audience, and I are all benefiting. to waste time and are often seen as sus­ noticed no deterioration in the quality of I have just begun using the MBTI in pect. We both looked for alternative cor­ my choral performances. To my surprise, the conducting classes I teach. After learn­ rective procedures. A method we used we are sometimes even ahead of my re­ ing my students' personality types, I can was to have Harriet write some stories hearsal schedule. define some problems in their rehearsal about her rehearsals from both positive Understanding oneself and differences styles sooner because I know their type's and negative points of view. This rein­ in behavior cannot, of course, improve preferences. They are less anxious in our forced the importance of seeing things one's musicianship or baton technique. It individual sessions because we know what from different perspectives. It also was a is enormously helpful, however, in com­ our differences are. Thus, they have be­ way to move Harriet away from the de­ bating the figurative self-flagellation at come better learners, and I am a better mands of perfection that could sometimes rehearsal's end when a conductor may teacher. I hope this will ultimately help move her into that stuck place. begin to wonder about his or her suitabil­ them to discover themselves and to inter­ ity to the task at hand. I find it much act more insightfully with the students Results of the Study more productive now to make note of they will eventually teach. bad rehearsal moments, to analyze them A Conductor's Conclusion on the basis of my type's strengths and A Psychologist's Conclusion I was motivated to begin this project weaknesses, and to remind myself of the Through our work together Harriet partly because I was interested in my per­ varied attitudes people have toward tak­ has learned that she can wait (instead of sonal growth and, more specifically, be­ ing in and giving out information. My fix) when she feels stuck and that a posi­ cause I wanted to see if I could reduce definition of a bad rehearsal has changed. tive comment might pull her out of a rehearsal frustration and feel good about What I call a bad rehearsal is one in which the process all the time. My study of type we plod along taking baby steps or, at the theory and the MBTI convinced me that other extreme, one in which we just run TUXEDO DISCOUNT not all people approached problem-solv­ through a piece without doing much with AMERICA'S LARGEST NEW AND USED ing the way I did. This was a big surprise. it. I have learned, however, that some FORMAL WEAR DEALER It was affirming to discover that psycholo­ singers appreciate what I characterize as SPECIALIZING IN LARGE GROUPS gists had seen my type before and had plodding and others are anxious to expe­ Complete Seven-piece Thxedos confirmed its strengths and weaknesses. rience the continuity of a piece instead of From $25.00 Once I knew what my preferred behavior always working on fragments of it (which Please call for brochure and price list. was and how it differed from that of is my preference). TELEPHONE (619) 299-9065 people unlike me, I was better able to Today, I seem to be having fewer bad FAX (619) 299-3252 experiment with mildly uncomfortable rehearsals. By referring to my list of op­ 3770 HANCOCK ST, STE F behavior in front of my ensemble. I dared posite behaviors and by writing about the SAN DIEGO, CA 92110 to believe that what might be uncomfort­ frustrating rehearsals I occasionally have, able for me could actually increase my effectiveness in the short term. It was rela­ tively easy to notice when I was getting Music Teachers, Children's Choral Conductors ... stuck (usually manifested in the tunnel­ vision of overworking some detail and becoming more frustrated by the minute.) tnhance Your Programs and tarn Graduate Credit... By memorizing a few key words and Kinderchor is a children's choral program at phrases that suggested styles of problem- Otterbein College now in its sixth season. at the extreme of The Kinderchor Children's Choir Institute own expenence preference, I could call up an alternate behavior. This influ­ the following areas: enced the behavior of those not respond­ • Conducting • Rehearsal Techniques ing to what I was doing (in my preferred • Literature mode) at the moment. It seemed to work. • Vocal Pedogogy The growth I experienced through the • Accompanying study and practice of these opposite-type One to five hours of graduate credit is • Choir Administration behaviors has made me more understand­ offered through Otterbein College. ing of the variety of my students' learning July 29 - Aug. 2, 1996 styles. It also has strengthened the least­ OTTERBEIN Call Amy Chivington at 614-823-1110 for preferred aspects of my personality type. c 0 G E more information or to register.

MAY 1996 PAGE 15 negative mind-set. She balances praise and Conductors with whom I have Symphony Orchestra League semmars, criticism better. Both when she is stuck worked express concern that if we talk 1994 and 1995. Harriet Simons, "Leading and throughout the rehearsal, she has ex­ about psychology, better communica- Adult Choral Singers toward Self- panded her capacity for risk-taking with­ tion, and empathy, they will become soft Actualization," Choral journal I? Oanuary out knowing what the outcome will be. and settle for less. Their fear is that some- 1977): 11-15; Choral Conducting: A During an informal interchange, one of how the music will be compromised. Leadmhip Teaching Approach (Champaign, Harriet's advanced choir members con­ Since they feel uncomfortable trying op- IL: Mark Foster, 1983). firmed that Harriet's occasional moments posite-type behaviors, they have a legiti- 2 Typology in this article refers to Carl Jung's of frustration and negativity had disap­ mate concern that time will be wasted theory of personaliry preferences. Jung peared entirely (from his point of view): and less will be accomplished. No con- described his model of psychological types ductor wishes to feel uncomfortable or as a way to find "soJTle kind of order Now, if she gets justifiably annoyed inadequate in front of an ensemble; yet, among the chaotic multiplicity of points because we aren't prepared, she lets we improve by being challenged to do of view." e.G. Jung, Psychological Types, it go very quicldy and moves on. some uncomfortable things. vol. 6 of The Collected Works ole. G. jung, And I realize that I do not get Awareness of personality differences is trans. H.G. Baynes (Princeton: Princeton ----anXious lilre-t useal:o.I-aian'"t"'ev""eCMnc---~a-tmkforself;::lmowledge:-E>hlre-many--- U niversity Press;-19'll)~xiv;-- know I was anxious when she was tools that aid in fostering personal growth, 3 The Myers-Briggs Type Indicator, or MBTI, upset until it stopped. the MBTI is one of the most useful. It is is a registered trademark published by accessible, nonthreatening, and ultimately Consulting Psychologists Press (CPP), Small changes in our behavior can have a very powerful. 3803 East Bayshore Drive, Palo Alto, significant impact on others. California 94303. It is available only to When we evaluate our learning experi­ NOTES those who have a demonstrated knowledge ences, the most significant ones are those 1 Barbara Pollack, "The Effective Conductor: of MBTI test interpretation through in which our mentors pushed us against a A Matter of Communication and Person­ schooling or completion of training metaphorical wall of resistance. Our resis­ ality" in Psychology and Perfonning Arts, ed. workshops in the MBTI. Additional tance was usually related to the belief that Glenn D. Wilson (Exton, PA: Swets and information may be obtained from CPP we could not do something. When we Zeitlinger, 1990), 155-62. Pollack also has or the Association of Psychological Type, found ourselves on the other side of the presented papers at the Conductors' Guild 9140 Ward Parkway, Kansas City, wall, we did not always know how we got Annual Conference, January 1991; Iowa Missouri 64114. there, but we could never truly go back to Choral Directors Association Symposium, 4 More complete information on the dynamics our prior state. This applies to looking at July 1992; Personal Development Seminars, of type can be found in Isabel Briggs our personality preferences and genuinely Association of California Symphony Myers and Peter Myers, Gifts Differing incorporating those of our opposite type. Orchestras, 1991 and 1995; and American (Palo Alto, CA: Consulting Psychologists Press, 1980) and Isabel Briggs Myers, Introduction to Type, 5th ed. (Palo Alto, CA: Consulting Psychologists Press, A Call For Papers 1993). Also available is a pamphlet that describes how to access the opposite or Church Music: least-preferred functions: Katherine D. Myers and Linda K. Kirby, Introduction In the 21st Century to T}pe: Dynamics and Development (Palo Alto, CA: Consulting Psychologists Press, To be delivered at a symposium sponsored by the 1994). A clear summary of Jung's model Center for Church Music is found in Naomi Quenk, Beside of Ourselves, Our Hidden Personality in Carson-Newman College Evelyday Life (Palo Alto, CA: Consulting on Psychologists Press, 1993). February 13-15, 1997 5 David R. Saunders, Isabel Briggs Myers, and Katherine e. Briggs, MBTI Expanded Analysis Report (Palo Alto, CA: Consulting The Center for Church Music is seeking to promote research, dialogue, and Psychologists Press, 1989). scholarship in the study and practice of church music.

For more information contact: Dr. Clark Measels, Chair -CJ- Center for Church Music CNC Box 72048 Jefferson City, TN 37760 423/471-3480

PAGE 16 CHORAL JOURNAL The Relationship between Nonverbal Communication and Conducting: An Interview with Rodney Eichenberger byAlan C. McClung

Rodney Eichenberger

We do not hear with our ears only; we do not see with that health professionals have determined that it even plays a our eyes only: both these senses go together and form a role in mental health.4 For more than twenty years, the topic whole which makes human communication complete.! of nonverbal communication has received significant atten­ -Max K. Adler tion at international conferences on anthropology, sociology, linguistics, applied linguistics, psychology, applied psychol­ Human communication is interwoven with verbal and non­ ogy, cross-cultural psychology, semiotics, communication, and verbal cues and messages. From overt actions to unconscious other disciplines.s signals, limitless combinations are formed. The impact of non­ Definitions of nonverbal communication range from very verbal behaviors on communication carries profound implica­ broad to very narrow. In an effort to integrate various disci­ tionsfor the art of conducting. This article provides an overview plines and perspectives, Fernando Poyatos, a specialist in the of literature on nonverbal communication, as well as its effects field of nonverbal communication, offers a broad definition: on conducting, and concludes with an interview of Rodney Eichenberger, a leading expert on nonverbal communication the emissions of signs by all the nonlexical somatic, attifactual, and conducting. and environmental sensible sign systems contained in a culture, whether individually or in mutual constructuration, Nonverbal Communication Research and whether or not those emissions constitute behavior or Peter Marler, a noted researcher on the role of genetic and generate personal interaction.6 environmental factors in the development of animal commu­ nication, concludes that types of communication other than Adler provides a simpler definition: language playa much more important role in human biologi- cal malceup than is generally aclmowledged.2 Language is only The whole of the human body is a means by which to one part ofalarge ana complex commUnlCatlOn system. All-e-n----e-xp-r-e-ss-w-hat happens 111 a man's 1I1ner 15e1l1g. The way h"'e------T. Dittman, recognized for his work in movement communi- walks, he stands or slouches, how his eye shines or is dull, cation, points out that people communicate through words, every facial expression, every sound of his throat, every tone of voice, facial expressions, body movements, proxamic movement of his mouth-everything in and on him is a behavior, and by psychophysiological responses such as blush- continuous, ever-changing projection of his inner feelings ing and speed or depth ofbreathing.3 Nonverbal communica- in respect to the outside world.? tion comprises such a significant portion of human interaction Although tlle impact of nonverbal behavior on communica­ Alan C. McClung is a Ph.D. candidate in choral music education tion has been aclmowledged throughout much of human his­ at Florida State University, Tallahassee. tory, research into nonverbal behavior began with the work of Charles Darwin in 1872.8 In The Expression ofthe Emotions in

MAY 1996 PAGE 17 Man and Animals,9 Darwin established the causes or origins of movements and ears, eyes intently directed forward, serious scientific study of facial and body expressions in humans. For example, Dar­ bristling hair on the neck and back, a movement patterns. He concluded that win observed the appearance of a hostile remarkably stiff gait, and an upright and much could be learned through the ob­ dog approaching another dog. He de­ rigid tail. So familiar is this physical com­ servation of animals when considering scribed the hostile dog as having erect munication in its meaning and intent that an angry person is sometimes said to have his or her "back up." The 1911 case study of Clever Hans, the Horse of Mr. von Osten,10 illustrates 1/A marvelous addition to the surprising power of nonverbal mean­ ing and intent. In 1900 in ~erlin, von Up Front! ----ffiemoral communif¥ Osten began trruning his horse Hans to count by tapping his front hooE Hans Becomillg tbe Every chapter has ideas of Complete was a quick learner and was supposedly Choral is Conductor value. The book a must instructed in figures and the alphabet.

and, because of the obviously profound professionals." scientific implications, an investigating - Choral Journal October, 1995 committee was assembled to decide if any Tun. 1i~'1o Dl

PAGE 18 CHORAL JOURNAL The ability to code and decode non­ controlling nonverbal messages readily music moves "up or away," rather than verbal behaviors is subject to a number of apply to the task of conducting. He asserts "down or toward." Dickson warns, "Time variables. The Profile of Nonverbal Sensi­ that freeing the body to perform effectively beating implies an imagery that is anti­ tivity (PONS) test, an ongoing research as an instrument of communication is a thetical to the music-malcing process."18 project started in 1971, sought to dis­ difficult task. At the beginning one faces the Failure to monitor psychomotor slciHs can cover if a given expressive movement problem of social conditioning, including lead to flawed techniques or bad habits would be decoded similarly within and muscle memory and learned habits. As that are difficult to change. 19 across several populations. Administered awareness increases, tension is more easily to more than two hundred different popu­ detected, allowing one to retrain muscle lations in the United States and other movement. 16 Results of research by Albert countries, the results revealed that people Mehrabian indicate that in Western culture translate the same nonverbal cues in dif­ body tension is primarily associated with ferent ways. The nonverbal decoding abil­ fear and a lack of control. I? Unproductive ity of an individual or a defined group is body tension can be obvious or subtle. Only not equally distributed. 12 atrained eye with kinesthetic sense, as was FREE When nonverbal variables are combined demonstrated in the story of Clever Hans, catalog and with verbal components, the possibility of can adequately recognize the subtle de­ fabric samples. sending mixed or conflicting messages is grees of tension and its impact. Since 1955 ... quite understandable. A form of mixed Conductors must become aware of the LYRIC communication is nonverbal leakage. Adler effects various nonverbal cues and mes­ CHOIR GOWN CO. explains that although people exercise a sages have on musical performance. John reasonable amount of control over the Dickson, in an article on kinesthetics and P.O. Box 16954-AZ Jacksonville, FL 32245 words they choose, their capacity to re­ conducting, points out that a conductor CALL TOLL FREE main aware of their nonverbal cues is more must reprogram earlier learned gestures in 1-800-847-7977 limited. Nonverbal information that is un­ order to recognize that the vast majority of consciously leaked by a speal{er can con­ taminate and confuse the intended message. 13 For example, while reflecting a calm face, a speal{er may show anxiety by Join Us for the 17th Season! feet shuffling, rocking back and forth, or awkward use of the hands. Any of these unconscious cues will conflict with the The Annual Summer calm facial expression, creating a confus­ ing message for the receiver. The results of Choral Holiday a study on nonverbal leakage indicate that Worl

MAY 1996 PAGE 19 When a conductor verbally instructs and maximizes the musical results, how- study by Robert Grechesky examines the ensemble musicians, that conductor can ever, when successfully coordinating ver- verbal and nonverbal behaviors exhibited demonstrate insight and lmowledge of the bal directions with nonverbal behaviors. by a random selection of high school band score. If nonverbal leakage in performance Some musicians maintain that success conductors in central Indiana.23 Of the conflicts with the verbal instructions given in the conducting profession is totally de­ eleven variables he identifies as affecting in rehearsal, however, the performers, con- pendent on innate factors, and they refuse performance, eight are nonverbal. His sciously or unconsciously, must decide to engage in a scientific approach to con­ highest ranked bands experienced rehears­ how much of each message to follow. ducting education. They argue that con­ als in which verbal explanations were Some performers may choose to follow ducting talent is inborn and, therefore, complemented by nonverbal communi­ one of the verbal messages, while others cannot be taught; their educational ap­ cation skills. "The point is," Grechesky may choose to follow one of the manY proach is one of coaching rather than states, "if the essence of music is nonver­ ii"~nv~iGarmessages.proha5ly,-cthe-- cori~ teaching. 20 Based on scientific research in bal, the essence of conducting also should ductor will have to stop the ensemble and nonverbal communication, however, an be nonverbal."24 again give verbal instructions, selecting objective approach to teaching elements words more carefully. When a conductqr such as facial expressions, gestures, and The Interview _depends.primarily_on_verbal-information, __ movement-in_conducting-is-entirely_pos-__ Rodney_Eichenberger -is_Lconductor, __ the conductor is implying, "Ignore my sible. A literature review conducted by_ lecturer, and clinician who has focused gestures-do as I say, not as I do." Some- William Fredrickson suggests that one much of his life's work on investigating the times frustration creeps in, and a conduc- learnable behavior and an effective con- effects of a conductor's nonverbal commu- tor unknowingly shifts the responsibility ducting skill is the development of eye nication on music ensembles. He has lec­ onto the ensemble by asking the question, contact.21 A study of collegiate choral di- tured, taught conducting masterclasses, and "Why can't you people follow me?" Some rectors by Thomas J. Stauch indicates that guest conducted extensively in Europe, conductors have become so effective in primary nonverbal qualities such as gaze/ Canada, New Zealand, Australia, and the using verbal directions that they overcome facial behaviors, proxemic behaviors, and United States. A member of the Florida any lack of coordination with their non- postural behaviors are consciously devel- State University music faculty since 1990, verbal cues. A conductor is more efficient oped by most successful conductors.22 A Eichenberger holds degrees from St. Olaf

POLY-PHONICS BY JOSEPH REISER Vocal Etudes for the Development of Ensemble Singing

Have a blast with these fun vocal etudes and at the same time build your choir's sense of balance, blend, and rhythmic articulation. Also great for warm-ups. 21 pieces your choir will never forget, 12 accompanied, in both popular and classical styles. Your choir will never have so much fun being so musical! G-4165 (64 pages) ...... $5.50

Order Your GIA Publications, Inc. COPy;-2T1~o~d~a;y.~,/l~==: 7404 S. Mason Ave., Chicago, IL 60638 1-800-GIA-1358 or (708) 496-3800

PAGE 20 CHORAL JOURNAL College in Northfield, Minnesota, and the some velY experienced conductors came R.E.: Jeny Blunt, in his book The Com­ University of Denver, with advanced stud­ to study there. Each had developed a con­ posite Art ofActini 5 writes, "First the Im­ ies at the University of Washington and ducting style that was locked into man organism felt. Then he moved. When the University ofIowa. This interview was he moved, he moved for a purpose, and his conducted on May 11, 1995, in Tallahas­ movement revealed what the purpose was." see, Florida. Ifthe e!sence ofmusic There are numerous studies on nonverbal Alan McClung: Looking back on your communication; unfortunately, few deal career, what events influenced your is nonverbal, specifically with conducting. A conductor present philosophy of conducting? can step in a room and in two seconds win Rodney Eichenberger: The University the essence ofconducting or alienate the whole ensemble; the way he of Washington was my first collegiate po­ or she looks, where the eyes go, and how sition. I started with a newly formed group also should be nonverbal. the nose tips are messages being sent to the called the University Chorale. At the same Robert Grechesky time, I was a student at the university, 1,:======:::;-Music for the small church choir studying voice and teaching undergradu- ate choral conducting. The relationship his or her muscle memory. I discovered ~ We sP;~~lize in between my voice study and my choral . that the sound of the choir changed with ( [ouenant House conducting was very close. My voice each conductor. Once again my ap­ 108 E. South St., Lamoni, la., 50140 teacher, Edison Harris, believed in the proach to teaching changed. Cueing and Phone: (515) 784-6836 use of movement to teach certain things prescribing procedures were not my pri­ about the voice. Similarly, I became con- mary focuses. Instead I investigated the vinced that a conductor's movements and personal qualities a conductor uses to nonverbal messages directly affect the re- mal(e music and how those qualities af­ sponse of a choir. fect the performance. I began to mentally Ted Norman, head of the music edu- catalogue things that conductors do that t cation department, came up to me after get in the way of their intent. As I started I I the first concert of the University Chorale to isolate those things, I would watch a and said, "I think that the sopranos conductor and ask myself, "What is the c,,{lJ MUS I C wouldn't be quite so strident if you didn't most alterable trait that will make this ,J TOURS INC. have so much tension in your shoulders." conductor more effective?" That comment hit hard, and so I started A.M.: In conducting classes I have paying attention to my shoulder tension. heard you mal(e the following comment: I discovered that I could get a much bet- "There is nothing wrong with telling sing­ QUALITY ter sound if I did relax my shoulders. ers what you want; I just want you also to INTERNATIONAL That experience started me on a long show them what you say you want." How study of conducting. do these ideas connect? CONCERT TOURS In those early years I taught under- R.E.: Virtually all conductors I know at graduate conducting the old tried-and- have developed conducting habits that REASONABLE PRICES tested way, in which you start with a are sometimes antithetic to the desired pattern and then fit the music into it. At effect. Those habits are usually reactions times, my students became frustrated with to some kind of frustration. As a result my instruction. It worried me, so I read- they start pawing for the music; their justed my method. I started with making motions get bigger, and their control is Call or write today music. The students' assignment was to decreased. They start telling the choir for our unique teach a simple song and perform it within what they want over and over again; how- ___-"'a--'fi"-lv'-"e'--'-m=in'-'-u""t""e'---I""·e""h"'e""ar"'·s""al'-'-. ---,"WI~e--"c"",a"-'.m""e,---t""o,----,=th""e,------,e:..:v-",e",r,--,t=hey are unconsciously showing the _1----'-p_e_TS__ o_'fl_a_l_i_z_e_d_s_e_TVl __"u_'e_"_'_I _____ conclusion that the conducting pattern choir something contradictory. Conduc- was a useful and important tool, but that tors should coordinate intent with ver- it was effective only if it worked within balizations and gestures in order to give the context of each piece of music. This consistent messages to the choir. A great discovery completely changed my out- number of conductors give good verbal MARK FOSTER look on conducting. Instead of superim- messages, but then the choir has to ig­ MUSIC TOURS posing music on a conducting pattern, I nore the visual messages conveyed by focused first on the music and found ways the conductor's body. 'H' (800) 869-1406 to mal(e it come alive. A.M.: To what degree do you believe P.O. Box 2760, Santa Clara When tl1e doctoral program was intro- nonverbal behaviors actually affect con­ California 95055-2760 duced at tl1e University of Washington, ducting skills?

MAY 1996 PAGE 21 performers. I think that we don't teach stage, to talk your way into a performance, like a singer, tall and without tension in conducting adequately if we don't care­ but in the performance the conductor's the body, an ideal model is being pro­ fully investigate all the possibilities that movements bring about the final results. jected to the performer. Not every piece nonverbal language brings to the commu­ There is little question in my mind that of music is tall, so the posture might need nication between conductor and performer. conducting is basically a nonverbal art. to change to fit the quality and character Conducting is about getting a message A.M.: Perhaps you could focus on three of the music, but the posture of the con­ across through movement without words. or four of the primary areas that relate to ductor is number one. Posture includes The more effective the nonverbal commu­ the development of nonverbal conduct­ the placement of the feet, the movement nication, the more you can get done. The ing skills. of the knees, the movement of the head, more you tall\:, the less time the choir sings. R.E.: The first thing is the posture of and body balance. You can use all sorts ofwords to ,set the the conductor. If the conductor stands When teaching conducting I- begin by looking for an alterable habit that can be isolated. Do the knees bend habitually dur­ ing the phrase? Moving the knees on a Texas Choral regular basis shifts the posture, creating its -own rhytlunic cllaracterlhnanll.yth:mi-c--' ------Di:rectorsAssociinon-- character is not in keeping with the rhythm of the hand, interference takes place. When the conductor's knees are moving, one of 41st Annual Convention the first things I do is stop the conductor. I and New Music Reading Clinic demonstrate what happens with just a single note while bending the knees: the July 24-27, 1996 pitch sags. That nonverbal message im- San Antonio Convention Center plies sitting down, which in turn results in a downward direction in pitch. • Enjoy fi:sti1?~Jitf~-4:1J:tonio - the historic downtown Similarly, if the foot, elbows, head, or area, the Riverwalk, the Alamo - plus Sea World wrists are keeping time, the primary rhythm and Fiesta Texas ' is disturbed. It creates an extra focus point • Over for the singers' eyes. The performer must 300newmusi~t¥tifjtkii~ 1;"':\\ decide which to follow, the foot, the el­ • Clinics;W;ir~shop~_ln-:'~(l(lj~it.iF#·Eb~Cfucting bow, the head, the wrist, or the hand. techniques, antJJiterd:~1fre setectig.nsJ'or all areas: Musicians watch the conductor and Elementdty ::''- ! -,­ mimic what the conductor is doing. Middle School/Jurii~rl:l.igh When the conductor's head is raised, High School " singers change their posture dramatically. Church - full/part time I check to see how much the conductor' s head is moving. Is the head moving out Community of frustration? Does the conductor's head • Trade show with over 250 exhibit booths move up and down with a raised chin while he or she breathes with the choir? For registration information: If so, tension is being created in the TCDA. 2550 S. IH35, Suite 201 • Austin, TX 78704. 512/416-TCDA occipital joint region, and the result is vocal tension. Every summer I do a cho­ ral conducting workshop in Oregon; twenty participants conduct pieces with the choir. As some conductors display tense conducting habits, I can see sopra­ nos doing things like holding their throats and rubbing their necks. Finally, I look for tension in the arms, shoulders, wrists, and hands. I am par­ ticularly concerned with the degrees to which the arms reach and the hands re­ lax. Conducting in a reaching position sends an entirely different message than conducting with the upper arms hanging freely to one's side, and I can hear a

PAGE 22 CHORAL JOURNAL marked difference in the choral sound lifting the conductor's torso to a taller Of course there are various levels and resulting from each. The same point can and relaxed position, the intonation planes of conducting. The quality of each be made about the cocked wrist locked in usually improves. Because of the amount beat determines the placement of each an upright position. of muscle memory associated with out­ beat. Conductors should listen to the A.M.: If posture and its subsets are first of-tune singing, the tuning won't be per­ differences in timbre, pitch, and rhyth­ on the list of concerns, what is second? fect, but it will be improved. mic accuracy as those elements are af­ RE.: It is all linked together. If I ask a The conductor's nonverbal messages fected by arm position, ictus placement, student to notice that a leg is moving ha­ affect every musical facet of a perfor­ and the character of a beat's approach bitually, the student starts concentrating mance. My premise is that nothing is and departure. The conducting pattern on the moving leg, and suddenly the face right and nothing is wrong, but every­ should be used to allow the music to goes blank. Although facial effects contrib­ thing you do has an effect. Whether con­ come alive. Every downbeat does not ute a great deal to what a conductor com­ ducting a choral or an instrumental have the same amount of "down" qual­ municates, I'm not concerned if a student's 'ensemble, I'm convinced that a conduc­ ity. The quality of each beat should be face goes dead as he or she deals with other tor can use certain nonverbal messages to determined by the music, and it is up to things that are getting in the way. achieve a particular sound. I am convinced that the more one is A.M.: "Nothing is right and nothing drawn into the visual aspects of another is wrong" doesn't fit the traditional view person's movement, the more one will of the standard conducting pattern. I have BOOK and imitate that action. When an actor is in a heard you say that every musical beat has MUSIC PUBLISHERS and very intense scene, the audience is caught a specific point, but those beat points can COMPACT DISC in the action, mirroring what the actor is have different qualities. DISTRIBUTORS doing. I remember my first experience RE.: The incredible importance of be­ Send books, octavos, and discs with a Cinerama movie that had a scene ing able to conduct steady beats shouldn't (two copies, if possible) for review to: involving a roller coaster ride. As the roller be questioned. The beat must arrive at and ChoralJournal o P.O. Box 6310 coaster went around a corner, the entire depart from a single defining point. Lawton, Oklahoma 73506 audience, sitting in absolutely stationary Rounded beats with circles or smudges Telephone: 405/355-8161 chairs, went around the corner in their give performers options to decide where chairs. They moved backwards and for­ the beat is. wards, then up and down. I was intrigued with the degree of empathy that the audi- ence had simply because of the visual stimuli around them. 8th Annual International That experience demonstrated how people can be so completely absorbed that Music Festival of S,.. iVj ...... dney they are unaware of the visual message. _J .. When an ensemble is absorbed in perfor- Open for audition with six2{!tWe'rity?~ix performing mance, it is entirely caught up with the groups selectedJ.r.,om North/.~""ierica. conductor. This degree of concentration is one of the basic qualities of the choral 1997: Berlioz Requienl'with festival chorus, Pacific Rim experience. concert band event,:Youth Orchestra§,eri~s;)'The Pacific A.M.: If singers unknowingly empa- Summit Jazz Fe,~tival and choral...... ,p·.,e'ffdim,".,,·, ances at the thize with a conductor's nonverbal mes- sages, would you agree that a conductor . ,' .. ' ,:Sydney OperaH6use. :,"J' can unknowingly affect all aspects of the , ..Attenda.H2:~ features groti~~ from ah!qv@P:;~K~;~i~;':':"':):"'" music-malcing process? < ;-'EiJfor)eand the Sou~'Pacific. Pre-f¢~tival alid RE.: Yes! You can listen to a groUj2?'---I----~··'~::'pust-:festiv,...,al ..".-c,on,' ....' ':cemouring-av ... ailable2,., ".7'-'-" ----1--- under one conductor, then put another '-' conductor in front of it, and it will have a Official sp()l1sors:Tli~YCity of Sydrr~YrbafUng~Harbour, different quality because of the way the:,Qantas Airways, Cairns City 'CounciL conductor stands and gestures. When I work with a choir that has a bad intona­ For application information, please contact: tion problem, I watch carefully what the The Executive Director- conductor is doing. I can usually relate International Music Festival of Sydney the out-of-tune singing directly to the G.P.O. Box 4992 Sydney, 2001 Australia phone: 61-2-580-0532 Facsmilie: 61-2-580-6316 conductor's gestures. Often a conductor's North American contact: World Projects 800-922-3976 ~International Music Festival heavy downward movements encourage 1997 Dates: June 29-July 5 1998 Dates: June 28-July 4 SYDN!Y the choir to sing under pitch. By simply

MAY 1996 PAGE 23 the conductor to discover and to dem­ in the development of a conductor's non­ 7 Adler, 1. onstrate visually that quality. verbal vocabulary. S Adam Kendon, "Did Gesture Have the A.M.: Besides the quality of each beat Happiness to Escape the Curse at the point, what other aspects of conducting NOTES Confusion of Babel?" in Nonverbal Behavior: gestures influence the musical results? Max K. Adler, Non- Vocal Language and Perspectives, Applicatio11S, Intercultural R.E.: Music-malcing is determined not Language Substitutes: A Sociolinguistic Insights, ed. Aaron Wolfgang (Toronto: just at the point of the beat but through­ Stltdy (Hamburg: Buske, 1979),55. Hogrefe, 1984),76. out the pulse of the note prior to that 2 Peter Marler, "The Evolution of Communi­ 9 Charles Darwin, The Expression of the beat. What happens between the beats cation," in How Animals Communicate, Emotions in lyJan and Animals 2d ed. determines whether I want to listen or ed. Thomas A. Sebeok (Bloomington: (New York: D. Appleton, 1896; repr., not. There is no slightingtheimportance_ Indiana University PIess,.19n),66.~~~_~ _ N ew_York:AMS Psess,19.Z2), _U6._ of the point of the beat, but if the dura­ 3 Allen T. Dittman, "The Role of Body Move­ 10 Oskar Pfungst, Clever Hans, the Horse ofMr. tion of the note is slighted and you get ment in Communication," in Nonverbal von Osten, ed. Robert Rosenthal (New too concerned with beats, you lose track Behavior and Communication, ed. Aaron W. York: Henry Holt & Co., 1911, trans. of the music. You lose track of the quality Siegman and Stanley Feldstein (Hillsdale, Carl L. Rahn; repr., New York: Holt, ot-fli:e pLilse-:--Isrl1e pulse going some­ N]:I.:awrence Efloaum ASsociaies,-r987)-;-49:-- Rinehart and -Winston,--T965). place? The tension-free motion of arriv­ 4 Herbert Marlowe, Jr., and Ann Marcotte, II Mark L. Knapp, Nonverbal Communication ing at and departing from the beat gives "Non-Verbal Decoding," Journal of in Human Interaction (New York: Holt, music that specific quality. Psychosocial Nursing and Mental Health Rinehart and Winston, 1972), 1-2. To sum up, I believe that virtually all Services 22 (1984): 14. 12 Robert Rosenthal et aI., eds., Sensitivity to gestures can help a conductor, so I en­ 5 Fernando Poyaros, "Introduction," in Nonverbal Communication (Baltimore: courage students to isolate each move­ Advances in Nonverbal Communication, ed. Johns Hopkins University Press, 1979),361. ment and then to discover its effect on Fernando Poyatos (Philadelphia: John 13 Adler, 34. the musical performance. These move­ Benjamins Publishing, 1992), xvii. 14 Albert Mehrabian, Silent Messages (Belmont, ments can then become effective elements 6 Ibid., xviii. CA: Wadsworth, 1971),56. 15 John W. Keltner, Elements of Interpersonal Communication (Belmont, CA: Wadsworth, 1973), 115. 16 Keltner, 115-17. MUSIC OF DISTINCTION: 17 Mehrabian, 29. PAST AND PRESENT 18 John Dickson, "The Training of Conductors These new releases feature three volumes of organ music written in the great tradition of Bach aod Brahms. These esquisite preludes c.1pture the spirit through the Methodology of Kinesthetics," of the te.....:ts and melodies and can be used as voluntaries and hymn introductions. Their compact and expressive character also rt:Jakes them excellent as teaching pieces. Choraljou172al32 (March 1992): 19. 19 Kenneth H. Phillips, "Psychomotor Problems Choraleworks, Set I ];:11 C/ltIn/ft· 1'",11,,/,·, fiJI" Olgl/II Gerald Ncar J. l"lit Fn!udcn Zarr 5. Nun Komm Ocr Heiden 8. 0 \X1c1t, feh Muss Didl of Beginning Conductors," Choral Journal 2. \Vescminsrer Abbey Heiland Lassen 3. Nun Danker Aile Got[ o. In Dulci Jubilo 9. Herlliebster Jesli 29 (Febtuary 1989): 23. 4. Moscow 7. Erhalr UIlS, Herr (Spires) 10. Salzburg 20 Acton Ostling, Jr., "Research on Nonverbal AE83 Org:m solo S13.00 Communication with Implications for Choraleworks, Set II 7i'1t C/Jtmt/,· PrdudL's Jor Orgall Gerald Ncar Conductors," Journal ofBand Research 12, I. Canonbury 5. St. Denio 9. Hcr.dich lilt Mich 2. Leoni (',. Freu Dich Sehr (P.~;llm 42) Verlangen no. 2 (1977): 30. 3. Herr Jcsu Christ 7. Suo Giin 10. Puer Nobis Nasdtur 4. Liebs{cl' Jesu, \X1ir Sind l-Iicl' 8. Aus Ticrel' Nor 21 William E. Fredrickson, "Research on Eye AE8~ Organ sulo S15.00 Contact with Implications for the Con­

Saint Augustine's Organbook 'I171 f?t'/udcr (111 Gngonim Cham A'MfJt!icsfor a'KIlII Gcmld Ncar ductor: A Review of Literature," Update 11 I. Jesu. Dulcis tviemoria 4. Requiem Acrernam 8. Ave. rvhlris Stella (FallfWinter 1992): 25-30. 2. Adom T'e Devore 5. In Par:ldisum 9. Ubi Caritas Er Amor (Prelude with 4 Variations) 6. Ave Maria 10. Ave Colenda Trilliras 22 Thomas J. Stauch, "An Examination of Non­ 3. Ave Verulll Corpus 7.0 Sacrum Conviviull1 verbal Communication Behaviors of AE86 Organ sulo S18.00 Selected Collegiate Choral Directors" (Ph.D. Coverdale's Psalm 121 A Prayer of Three Purcell Songs UpOIl (/ iJllcb iJIISS St. Augustine Henry Purcdl (..<1. John Bermlor diss., Arizona State University, 1986). John Bermlut Ronald l\.. Nelson 1. Fairest Isle Anthem for Chorus 2. J'vlusic: ror il while 23 Robert N. Grechesky, "An Analysis of 1G;~/~~::lts/Jtm/ 3. Hark! the echoing air ~~~f'~f~/~1 ~~~I O/:~1111 S(J/IJ\,'tliufJrUlJis. Nonverbal and Verbal Conducting Behaviors Magnificat and ChfJir/Kt)'/1(JllrdICl-I/o (tlpl.) Nunc Dimittis Most Glorious AE77 $1.95 Tbt' Pritw'llJI/ St'n4a and Their Relationship to Expressive Musical Ger.lid Ncar Lord of Life! SATB, 7;",. (II' iJm: JtJ/o 111/(1 Orgtlll Gerald Ncar Performance" (Ph.D. diss., University of 's·ATIJIOl'g. (EIISIt,I') AE.15 MD 52.25 AE76 S 1.95 Wisconsin-Madison, 1985). Jill 24 Ibid., 153. ~~ PARACILlElilE PRIESS 25 Jerry Blunt, The Composite Art of Acting SOLE DISTRIBUTOR P.O. BOX 1568 ORLEANS, MA 02653 (New York: Macmillan,1966), 45. lr -C]-

PAGE 24 CHORAL JOURNAL NeW' Recording Rei 'IheBattle Moses Hogan C 15 Choral Volum.eII

SU1lg by members of The Moses Hogan Chorale Comm

From New Orleans to Moscow, Hoga1l's other works have thrilled audie1lces arou1ld

Having heard .on many occasions the work of Moses Hogan, I am continually amazed at how he transcends the ordinary and makes everything an artistic and spiritual experience. -WILLIAM WARFIELD Internatiollally Acclaimed COllcert Artist alld Educator

In the world of 20th-century choral arrangers, the name of Moses Hogan belongs right at the top of the list. His creativity, sensitivity to text, mesmerizing rhythms, and outstanding musicianship make his music a delight to perform and a joy to hear. - PHILIP BRUNELLE Rellowlled COllducto/~ Foulldel; and Artistic Director Plymouth Music Series of Minllesota

The Battle of Jericho My God Is. So High o Please list me in the souvenir program of the Moses Hogan Chorale at Br/lll! Strattoll, tellor The Fourth World Symposium on Choral Music in Sydney Australia, God's Gonna Set This World on Fire August 7-14, 1996. I will market 4 recordings of There's a Man Goin'Round The Battle of Jericho. (OJ(er a\'lli/able fllI/Y throllgh IIWi! fln/e!:) Briall Stratton, tellor Ev'ry Time I Feel the Spirit Please indicate: 0 Business 0 Individual Brian Strattoll, tellor Each cassette is $10.95 plus $1.50 for postage and handling. Swing Low Sweet Chariot Each CD is $15.00 plus $1.75 for postage and handling. Kent Jordall, flautist Ain't That Good News For Mail Orders Brian Strattoll, tenor Please send me __ Cassetle(s) / __ Compact Disc(s). Enclosed is my check or I Want Jesus to WalIc with Me Brian Strattoll, tellor money order for $___ . __ made payable to MGH Records. I'm Gonna Sing till the Spirit Moves in My Heart I Want to ThanIc You Lord Name Address ______Old Time Religion (Recorded Live) City ______State Zip _____ Alfred Wallce/; bass Lord, I Want to Be a Christian Phone (__ ) ______I Am His Child Mail this order form to: MGH Records I P.O. Box 2402 Elijah RocIc New Orleans, LA 70176-2402 I (504) 568-9142 I (504) 524-7593 (fax). Basin Street Blues (Spencer Williams) Use this address a/s%r booking or alldition il!/'ri/'llwtion. Germaine Bazzle alld Mary Mayo, soloists For Credit Card Orders (Mastercard or VISA) and Church or School AccOl/llts Moses Hogan's choral arrangements are Call 1-800-621-4496 published by Hal Leonard Corporation and Carl Fischer of Chicago, Illinois I 312 South Wabash Alliance Music Publications, Inc. Chicago, Illinois 60604 I (312) 427-9545 (fax) Thank you for your support of choral /Ill/sic. n..•..•-' '\' <'".···· ..•...... > 21th JJ{usica;Sacra-Ch6ir-C([mjietitidn, .1I :i 6iCQv£nni Picer~uigJi;1 :"'1 !/Jl;!oneyprizes}II' '~Ja ~JP)-alce§ trin&- ]~\--- -:1 ---L~ePm~:~~~!JE;11~~0o~;I~I.~;¢I~~~,i~j;fl:~~~J~;~_1 __ •0l?~n for. ~ ~ds ~f ~P~!fS:d .'" ." .' .c~r1}ft.~ateJt: . :jl:~,()p~Ilfor ~ l~?s.~f IY1:~sl;ca ~~cr,as~~~s_> J

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I ,••.• ".,.-._.•.... _--"-,--_. __._ .. ,,.;:-_ .....__ ._-- ,.:.",-' ..·-~I RE H EARSAL BREAKS Conducting Gregorian Chant by Charles W Chapman

HORAL CONDUCTORS of the chant. More than any other choral Mocquereau (1849-1930), former must develop a large repertoire style, chant demands highly subtle con­ Chantmaster of the Abbaye of St. Pierre, C of practically automatic gestures trol of pace and accent because of the de Solesmes, France. This sign is now that serve as a nonverbal, musical com­ exposed unison line. Only monastic considered both unnecessary and inaccu­ munication system. Most of these choirs, constantly immersed in this mu­ rate. The Liber usualis also mistakenly sug­ common-practice gestures are based on sic, can read from the score during per­ gests that the chant universally exhibits metric patterns; however, when con­ formance. The lay singer who remains rhythmic patterns of twos or threes. fronted with musical styles requiring even partially dependent on notation usu­ Use the Graduale triplex 2 as your signals not contained in this language, ally lags behind the constantly changing primer. Learn to read not only quadratic the conductor must seek new patterns. undulation of the musical line. The chant (square) neumes but also the paleographic Attracted by the recent renaissance of patterns must be established in the singer's notations of St. Gall and St. Laon, which Gregorian chant, many conductors are subconscious. The chanting will suffer if are printed above and below the square for the first time beginning to consider the conductor has to make too many de­ selections from this repertoire for perfor­ tailed gestures and if the singers rely too mance. These adventurous programmers, heavily on the score. however, must learn to communicate a nonmetrical, monophonic style requir­ Teaching the Chant ing a conducting language that at first Do not begin your study with the in­

may seem quite foreign. structions found _in the preface to the Finest Fabrics Including Conducting Gregorian chant offers sev­ Liber usualis. 1 The very abstruse "arsisl Permanent Press and Wash & Wear. Superior Quality. Free Color eral challenges. First, no regularly recur­ thesis" explanation, which is of little help Catalog and Fabric Swatches on Request. Guaranteed Satisfaction. ring beat means that pitches occur at to the beginning chant conductor, im­ Toll Free 1-800-826-8612 unequal intervals, and the accents of both plies that conducting gestures should be text and melody also occur at irregular based on a supposedly recurring accent HEGENCY intervals. Second, the musical pace of the pattern. The vertical episema (I ), found _1t!'iI:'et·l!·,,~lit·_ chant, a more subtle expression of tempo, throughout the Vatican editions of chant, P.O. Box 8988-CJ Jar,kslmvill,,_ Florida 32211 also is pervasively irregUlar. Accent and was the invention of Dom Andre pace are interrelated, so both must be dem­ onstrated in one conducting gesture. Third, no rhythmic groupings in Gregorian chant allow the conductor to employ a tradi­ New York Premiere Performance at Carnegie Hall tional beat pattern. The old idea that chant Rene Clausen, Conductor rhythm falls into groups of two or three notes covers a bare majority of situations. JUNE 9,1996 So many exceptions exist that the chant ----conductor-also-ffiust-leam-to-conduct-dus---1--7""""""""" ters containing as many as six pitches. by Rene Clausen Finally, the choir must have an inti­ - tlfna- mate, nearly memorized internalization Commissioned by the Nebraska Choral Charles W. Chapman is Chair of the Arts Sooiety, Dr. Z. Randall Stroope, direotor Department of Music at Southwestern Oklahoma State University, Weather­ ford, Coordinator of the Sacred Music ~I~~~~~P.O. Box 4012, Champaign, IL 61824-4012 degree program, and Conductor of the :: call (800) 359-1386 or fax (217) 398-2791 Southwestern Singers. musIc COffiPRny email: [email protected]

MAY 1996 PAGE 27 neumes in the Graduale triplex. Detailed neumes will help the conductor to judge the pitches of the chant without demand­ instructions for interpreting the paleo­ the correctness of the Vatican edition's ing the full range of subtle changes of graphic neumes are found in Gregorian square notation, to replace horizontal pace and accent. Semiology.3 In both. quadratic and paleo­ episemas that may be omitted in the graphic notation, the term "neume" may Vatican edition, and to mark other ar­ Conducting the Chant designate one symbol (for one pitch) or a eas in which subtleties of phrase may In the early twentieth century, Pope compound symbol for a group of pitches not be indicated by the square neumes Pius X assigned the responsibility for di­ (Figure 1). (Figure 2). recting chant research to the Abbaye of The conductor must note the places in Read the text slowly to the singers, St. Pierre. The recordings, publications, which the chant, for musical or word­ overemphasizing the accented syllables. and teaching endeavors of the Solesmes painting reasons; purposely departs from Ask the singers-to' recite thetext--in"the Benedictines 'represent---the' single most­ the normal Latin accent. Many of these same manner. As they read the text, begin useful body of information concetning melismatic freedoms will occur. The in­ marking and reinforcing these accents this repertoire. formation provided by the paleographic with conducting gestures. Finally, teach Dom Jean Claire, the present Chant­ master of St. Pierre, conducts both the abbey's Schola and the entire monastic community with almost imperceptible, Square Notation St. Gall Notation circular, pushing movements of his chant book. This same subtle cueing is seen in Torculus ... = J' other monastic choirs, such as St. Benoit­ sur-Loire. = At the same time, there is plenty of Porrectus /V N room for individual interpretation in chant conducting, as various gestures Figure 1. Square notation and St. Gall notation may prove equally effective and expres­ sive. Some movements, however, will not provide clear communication. Straight, vertical movements (downbeats), for ex­ ample, are too abrupt to communicate the style and flow of the phrase. Down­ beats reflect the specific regularity of our modern metric system. ~I ~)~-:::::::- ~. r ,~ ~'l Neither should the conductor try to ~:s>t?- ~ Ir I "":l indicate evelY chant detail, which would ~ J ~~ T~f~eaIlY help your program ~#r~f ,a~d !"otivate result in excessive movement. For ex­ ample, the conductor should avoid dic­ (~your students, here's a great ~ that's tating repercussed, repeated pitches (which the Liber usualis incorrectly in­ rightonr ~ structs singers to tie together into one long duration). It is a mistal(e to show "~~ ~ each of these with a separate hand move­ ,~~ or ~ to a 1997 ~North American ment, even though they must be articu­ lated by the singers. Singing repercussed Music Festival! You'll feel like a and your pitches is only one of the many subtleties * that must be rehearsed and then entrusted students will you for it! to the singers to perform. After much experimentation, I have found that the most useful conducting Just ~ us at 1-800-533-6263. We'll send you gesture for chant consists of clockwise, our for free. circular motions, of different diameter and speed, combined with softly rounded Festival Locations: Virginia Beach, Myrtle Beach, single "beats." The lowest point of these Toronto, Atlanta, New York City and Orlando. circles corresponds to the most important (Or we can arrange a Custom Tour for your group!) pulse of a segment of chant or to the entrance of the choir. This point is some­ times the first note of a neumatic group and at other times indicates the apex of

PAGE 28 CHORAL JOURNAL the group, depending on phrase and ac­ visual, physical, and musical respite from be wrong if the singing is beautifully fluid cent. Only occasionally does it indicate the ubiquitous circle. Doubling left and and your movements are not distracting the syllabic accent. right hands in mirrored conducting pat­ to the congregation or audience. The lifting movement that closes the terns is perfectly permissible either to gain circle is usually slower than the prepara­ greater control of the choir or to indicate NOTES tory downward curve. This circular move­ stronger accent or phrase movement. Just I Abbaye Saint-Pierre de Solesmes, The Liber ment best mirrors the freely flowing, as in other conducting styles, the mirror­ usualis with Introduction and Rubrics in constantly changing accent and pace of ing should not be constant. English (Toledo, OH: Gregorian Institute chant. It gives continuity yet direction. It In the final chant performance, the of America; Tournai, Belgium: Society of is similar to the chantmaster's "pushing conductor should assume a more sub­ St. John the Evangelist, Desclee, 1954). pulse," except that it moves right to left dued role. All gestures must stay within This work is permanently out of print. rather than forward toward the choir. In the upper body outline as seen from the Z Abbaye Saint-Pierre de Solesmes, Graduale performance this motion becomes a subtle audience. The conductor should get as triplex (Solesmes, France: Abbaye Saint­ cue rather than a gesture of control. If close as possible to the chantmaster's Pierre de Solesmes, 1982). you find yourself using large or overly "book pulse." Mter you and your choir 3 Cardine, Dom Eugene, Gregorian Semiology, detailed movements, it may indicate that have learned two or three chants, you will trans. Robert M. Fowells (Solesmes, France: your choir needs to become more famil­ automatically fall into gestures that feel Abbaye Saint-Pierre de Solesmes, 1982). iar with the chant. appropriate, that provide control, and that During the downward movement of communicate meaningfully. You cannot -C]- the conducting circle, the conductor must feel a spring-loaded anticipation of the actual accent. You will reach the bottom point of the circle just a nanosecond be­ fore the choir does. The sensation is like quicldy winding a spring, which then slowly uncoils during the singing of the ensuing phrase. During a long melisma this imaginary spring may load and un­ coil several times. Another useful image is that of sewing with a needle and very Figure 2. The arrows point to tenutos (horizontal episemas), which are found in both long thread. The stitch is quick, followed paleographic notations but which do not appear in the square notation of the Vatican score. by the extended drawing of the thread through the fabric. The goal of the con­ ducting gesture is the creation and then dissipation of phrase tension that ebbs and flows with the smooth, irregular un­ dulation of the chant. The point of great­ est control for the conductor is the bottom Simply . .. the best! of the circle. The rising side of the circle reflects the natural spinning-out of the phrase segment. Single syllables set to a single symbol and not linked to a surrounding com­ pound neume often are conducted with a MASTER MUSIC MANAGER quicker, single, downward movement. It is more cushioned by wrist flexibility and Easy-to-use computer resources for school and church musicians more rounded than a normal downbeat. Single gestures are more common in re­ Macintosh® and Microsoft® WindowsTM versions include: hearsal than in performance. AB the choir Music Library Recordings Library Membership Files begins to learn the shape of each chant Personal Directory Inventory Manager DataDesigner segment, single movements tend to coa­ lesce with their neighboring neumes into Easily customize any module, or design your own! fewer, broader gestures. If two or more notes of a final cadence are elongated by Call MANAGER SOFTWARE for a FREE demo disk. dots or tenuto marks, a conducting pat­ (800) 282-9220 • Monday-Friday • 9-5 Eastern Time tern similar to a slow, legato two-beat measure can be used, as it provides a Also available for church musicians ... Hymnlndex™ Worship Planner

MAY 1996 PAGE 29 REPERTOIRE & STANDARDS COMMITTEE REPORTS

College and Butt, John. Bach Interpretation­ ofMusic. New York: W.W. Norton, Articulation Marks in Primary Sources 1973. University Choirs ofI S. Bach. New York: Cambridge University Press, 1990. Kite-Powell, Jeffery T., ed. A Peiformer's Performance Practice Guide to Renaissance Music. New Resources: Medieval, Cyr, Mary. Peiforming Baroque Music. York: Schirmer Books, 1994. Renaissance, and Baroque Portland, OR: Amadeus Press, 1992. MacClintock, Carol, ed. Readings in the NE of the most perplexing and Donington, Robert. Baroque Music: Style History of Music in Per.tormance. . often controversial problems and Peiformance. New York: W.W. Bloomington, IN: Indiana University O facing the student of choral mu­ Norton, 1982. Press, 1979. sic is centered around the performance -of-earlrmusic:-I-asked-uuiversity-col--E>onington,Robert~Fhe-Interpretation-Mann,--Alfred.-Baah-and-Handel--- leagues to list performance practice of Early Music. London: Faber and Choral Peiformance Practice. Chapel sources they use in preparing period mu- Faber, 1963; new rev. ed., New York: Hill, NC: Hinshaw Music, 1992. sic for performance. They were also asked W.W. Norton, 1989. to suggest resources for the student of McGee, Timothy J. Medieval and performance practice. Donington, Robert. A Peiformer's Guide Renaissance Music-A Performer's For brevity's sake I have chosen to list to Baroque Music. New York: Scribner's Guide. T oronto: University ofToronto only books and a few dissertations. Ar­ Sons, 1973. Press, 1985. ticles, including those found in the Cho­ ral Journal and other periodicals such as Donington, Robert. String Playing in Mozart, Leopold. A Treatise on the Early Music, Musical Quarterly, and Pro-: Baroque Music. New York: Scribner's Fundamental Principles of Violin ceedings ofthe Royal Music Society, will be Sons, 1977. Playing. (1756) 2d ed., Translated by included in a later compilation. This list Editha Knocker. London: Oxford is intended only as a point of departure. Fisher, Gary. "The Munich Kapelle of University Press, 1951. Orlando di Lasso (1563-1594): A Model Bank, Johannes Antonius. Tactus, for Renaissance Choral Performance Munrow, David. Musical Instruments of Tempo, and Notation in Mensural Practice." D.MA. diss., University of the Middle Ages and Renaissance. Music from the Thirteenth to the Oklahoma, 1987. London: Oxford University Press, 1976. Seventeenth Century. Amsterdam: Annie Bank Music, 1972. Funes, Donald Joseph. "A Survey of Neumann, Frederick. Essays in Per­ Baroque Performance Practices: A formance Practice. Ann Arbor, MI: Brown, Howard Mayer, and Stanley Practical Guide for School Use." D.MA UMI Research Press, 1982. Sadie, eds. Peiformance Practice­ diss., University of Oregon, 1969. Volume L' Music before 1600. New Neumann, Frederick. New Essays on York: W.W. Norton, 1990. Harnoncourt, Nikolaus. Baroque Music Performance Practice. Ann Arbor: Today: Music as Speech. (1982) UMI Research Press, 1989. Brown, Howard Mayer, and Stanley Translated by Mary O'Neill. Portland, Sadie, eds. Peiformance Practice­ OR: Amadeus Press, 1988. Neumann, Frederick (assisted by Jane Volume fL· Music after 1600. New Stevens). Peiformance Practices ofthe York: W.W. Norton, 1990. Harnoncourt, Nikolaus. The Musical Seventeenth and Eighteenth Centuries. Dialogue-Thoughts on Monteverdi, New York: Schirmer Books, 1993. Bach, and Mozart. (1984) Translated by Mary O'Neill. Portland, OR: Newman, Anthony. Bach and the Amadeus Press, 1989. Baroque-A Performing Guide to Baroque Music with Special Emphasis - Exact tempo as it happens In Hill, Marshall Austin. "Concertino­ on the Music ofIS. Bach. Stuyvesant, rehearsal, in recording. - Precise tirnlng of beats per Ripieno Techniques in Baroque Choral NY: Pendragon Press, 1986. minute. Music." Ph.D. diss., Florida State - Fully guaranteed. Comes with protective carrying case. University, 1972. Poe, Frances R. Teaching and Per­ Write for infOI1DlltioDI forming Renaissance Choral Music: A MOSIC PRINT COMPANY, INC. Keller, Hermann. Phrasing and Articu­ Guide for Conductors and Peiformers. P.O. BOX 17608 • BOULDER, CO 80308 303499·2552 lation: A Contribution to a Rhetoric Metuchen, NJ: Scarecrow Press, 1994.

PAGE 30 CHORAL JOURNAL Quantz, Johann Joachim. On Playing areas, according to 1994-95 ACDA stu­ the Flute. (1752) Translated by Youth and Student dent chapter reports. Edward R. Reilly. London: Faber and Faber, 1966; reprint, New York: Activities Oxford University Press, 1991. Top Five NE OF THE AREAS in which Student Chapter Activities Rilling, Helmuth. Johann Sebastian ACDA has invested in the fu­ Meeting T opies Bach's B-Minor Mass. Translated by O ture of choral music is through 1. Series of guest speakers Gordon Paine. Princeton, NJ: Prestige the development of student chapters at 2. Regular student conducting sessions Publications, 1984. colleges, universities, and high schools. 3. Choral reading sessions An ACDA student chapter provides its 4. Interviewing for a choral job Steinitz, Paul. Peiforming Bach's Vocal members with opportunities for en­ 5. Panel discussion with first-year teachers Music. Croydon, England: Addington hanced choral education via conducting Press, 1980. experiences, reading sessions, and work­ Workshops shops, as well as opportunities to learn 1. All-state audition workshop Toft, Robert. Tune Thy Musicke to Thy about the "business" of ACDA. Student 2. Show choir/vocal jazz workshop Hart: The Art ofEloquent Singing in chapters are populated by conductors-in­ 3. Spirituals/gospel music workshop England 1597-1622. Toronto: Uni­ training who are engaged in activities 4. Rehearsal workshop with guest versity of Toronto Press, 1993. designed to heighten their interest in and conductor dedication to the choral art. While the 5. Conducting workshop Veilhan, Jean Claude. The Rules of chapter's activities depend on its indi­ Musical Interpretation in the Baroque vidual needs, several seem to be very Choral Festivals Era. Paris: Alphonse Leduc, 1979. popular at many student chapters. Listed 1. High school choral festival/honor choir Jerry McCoy, National Chair below are the five activities most fre­ 2. Junior high/middle school choral Committee on College and University Choirs quently offered in each of six subject festival

Band - Orchestra - Piano - Organ - Choral Music - Sheet Music - Church Music Instrumental Solos and Method Books Jazz Arrangements and Instrumental Ensembles

or Fax (412) 788-6055

138 Industry Drive Tuesday thru Saturday RIDe Park West 8:30 AM to 5:00 PM Pittsburgh, PA 15275 Eastern Standard Time

"helping people discover music since 1888"

MAY 1996 PAGE 31 3. Vocal arts workshop 4. Assisted with state solo and ensemble NATIONAL R&S 4. Collegiate choral festival contest COMMITTEE ON 5. ElementalY school choral festival 5. Assisted in departmental recruiting YOUTH AND STUDENT efforts Travel ACTIVITIES 1. ACDA national convention Fundraising Activities EASTERN DIVISION 2. State ACDA convention/workshop 1. T -shirt/sweatshirt sales Mary Ellen Junda 3. State ACDA student symposium 2. Coffee and doughnuts/bagels Department of Music 4. Various high school concerts 3. Sing-o-grams (singing valentines, University of Connecticut 5. Western Division Student Symposium singing Christmas cards) Storrs, CT 06269 203/486-2656 (0) ... ..4.ConcessLon stand at vocal festivaL " .. , , ',.','-, "."-'." .. "",. Service Projects 5. Various product sales (Valentine's Day CENTRAL DIVISION 1. Provided general service and assistance carnations, candy bars, coffee mugs) Douglas Amman to the choral area School of Music 2. Purchased items for choral area As of this writing there are 120 active Ball State University Muncie, IN 47306 (folcl.ers-;-p-o-nirrm-;-sonncl.-sysrem-, --studen-r-chapters-in-forty-states. T'his-sug~ 3171275-5417 (0) video camera, CDs) gests the question, "Why is there not an 317/282-2188 (h) 3. Provided ushers and box-office staff ACDA student chapter at every college for music department concerts offering a choral curriculum?" The Direc­ NORTH CENTRAL DIVISION Paul Nesheim tory ofMusic Faculties in Colleges and Uni­ Department of Music versities for 1994-95 (Missoula, MT: Concordia College r G.Il. MnStO Intel"nationaD®"\ CMS Publications, 1994) lists 1,830 in- Moorhead, MN 56560 introdUcing the stitutions offering music as an area of 218/299-3285, ext. 3310(0) ll'!.oll!l\l!urohula C!liloll'lIll Mlmca

The perfect solution for a perfect performance! WESTERN DIVISION Lynn Bielefelt SONG-LEARNING TAPES© Department of Music © 1988 by Hammond Music Service California State University-Long Beach Long Beach, CA 90840 Rehearsal tapes help choirs learn music 5 times faster! 310/985-5112 (0) Perfect for learning oratorios, requiems, cantatas· any major work! 310/658-5543 (h) Also • inexpensive rehearsal tapes for All-State, Regional & Honor Choirs! NATIONAL CHAIR Each tape has a grand piano playing its voice part loud Scott'XT. Dorsey in the foreground, all other parts soft in the background. Department of Music Call or write for a FREE catalog, demo packet/tape, and prices: Mount Union College Alliance, Ohio 44601 HAMMOND MUSIC SERVICE Toll Free: 1·800·628·0855 330/823-2181 (0) 235 Morningside Terrace, Vista CA 92084 FAX: 619-726-8053 330/829-9127 (h)

PAGE 32 CHORAL JOURNAL 1997 ACDA National 1 '919\7 \ !Ni~(A-T!81~i~j.L:·· /;i Children's C; ON iV IE N i'if;!fIO,N; i J Honor Choir ~kiai:jJj~! ~i ! I. / / il/ ('//~:1 il!~ Anton Armstrong, conductor

Deadlines and Schedule June 10, 1996 Application form, director's written recommendation, audition tape, and $15, nonrefundable application fee (check made payable to ACDA Children's Honor Choir) must be sent to:

1997 ACDA National Children's Honor Choir c/o Deborall Mello, National R&S Chair 435 Ridge Road Newton, New Jersey 07860

September 15, 1996 Notification by mail of acceptance into the 1997 ACDA National Children's Honor Choir. October 15, 1996 Check (made payable to ACDA Children's Honor Choir) for the $65 participation fee must be sent to the above address (postmarked by October 15, 1996). November 15, 1996 Music packets, rehearsal tapes, and additional information and instructions sent to singers. March 5,1997 With music fully prepared according to instructions received with the music packet, singers arrive in San Diego, California, for registration and the first rehearsal. Rehearsals continue through Saturday morning, March 8. .March 8, 1997 Afternoon performance and conclusion of convention .

Written Recommendation from the Director The director should supply a written recommendation on a separate sheet of paper. Be specific about the following abilities of the child: 1) music reading, 2) tone quality, 3) social skills, 4) willingness to work with peers and adults, and 5) adaptability to long rehearsals. Instructions for Preparing Audition Tape The audition cassette tape should include the following:

1. Michael Praetorius, Jubilate Deo (Boosey & Hawkes 6350). After starting pitch is given, sing the first six measures ofJubilate Deo unaccompanied. 2. Prepared Solo. Perform a selection of your choice with or without accompaniment. Limit piano introduction to two or three measures. 3. Vocalise. Using a vocalise, demonstrate the extremes of the child's voice range. 4. Choir Selection. Include an unedited selection performed by the child's choir.

l'!()@lt@ tapes WInne accepted~Tea:rryrabelme cassette tape andnox wimme name of die chllCl, name of the chOIr, name of the director, and city and state. On the cassette box, also list the title of the selection of your choice (number two above) and the child's voice range. Example:

o o

Tapes will be reviewed in a manner which will not reveal the child's name or choir until after selections are made. Directors should limit their applications to a maximum of two singers. Children whose directors submit applications for more than two singers will be disqualified.

MAY 1996 PAGE 33 1997 ACDA National Children's Honor Choir APPLICATION FORM Please photocopy this page. A $15, nonrefundable audition fee must be paid for each applicant. Checks should be made payable to ACDA Children's Honor Choir.

Singer Information (Print legibly or type) Applicant must be between ages ten and fifteen as ofJune 10, 1996.

Name: ~~~ ______~~~ ______~_ Date of Birth: / Last Name First Name M.I. Home Address:

City: State: Zip Code: ____

Home Phone: (____ -' ______Parent/Guardian Work Phone: ('-__~

C';radetevel':----~Voice-Patt··: ------rIeight: ___ ft. ___in'-. ---

!",":"~" .-.~--.,.-<--""."~'-".~ .. -"".--:~. -'~""'-'~.-'-"-~-"'''''''-- ...... -"~-~,--~, . .,--. ,-'-,' '"C-' .,.--" •• -"~-"- '\-.-'7..-.. ;t,c ~--, •.. " .---' - ••",.."~ .. - ... --,,"-.• ~".,.".• ~-,,-,-.-.,, !", ' '. ' ,': , ,', .. ", . f, ,'" ,', "'. • ,,"', '". ~ ,,',"" ; ',.; 1...... "...... '.'< .>'i ••.••...... •.. ,...... > .. ' " .' ... Sta.teIIie~tof 9biiga#C}~\ ...... ',' ...... '...... ". ." .' ...... \Ve~aver(!:id the.el1tireguidelinesand,appli~tioIl fOfm andfully~nclerstand t1Iat ~electionJor the 1.997 A.CDA~ati0l1al Childr~n's lionor I ,..•...• Ch6irkfing;.~itli it a:~iinif1cantp1usifai:mdJlnaIlcj~()bligation.WeuqderstaIldthat as.a m~~berR£t,lIe~()rtor~~oi~;~e aRplicrultIll~tpay '. i .·a]~5p~fisip~tion.·fee-~dthati\<::pA:' i~iio~respon~i9.l~lort;he. cost~ ·.9f the applitartt' st~a4sp~r.tatign,J9dgi~g, ·orrneaI~~We.• fiJ:rther' r.· •~der~tandtha~ th~. appli;:a1lt~illbestayi~gillthehoteL ... approxirnately.$QP.anightfql'fo~.rnightS-;-C-cl6ig~~tedbyth~ ~oIlventioh;:onunitte~. I I . '''Y ~l!#derstand~~~th~appli~~fltlU~r.ar~iyeiIiS~l}pi~fW' C~forllia,. f6r;~egis~ation,a~,d:thefi~st.~~he~s;hoIi\Vec4tt!sd~y,}\lf~m;h 5~ ,.1997,' ." i i '. ruld rlla~ 'clle'applicant rn~st~ttericlaILI;I~ri()r..Chbirrehearsal~· ~d the'·conve~tk)IlP~rfonriande~riSat~dayafterlloon,M:U:ch 8; .1997;'fhe k ~pplic~t.~~.hef2~IlI.~tt~4}q:hJlYi~g-~h~WH~icJYUy, p~ep;ge~G~~qrdiIi~Jq.tlIeil1sP:4~tiQn~ ·iIl~1»dt;~iri.th~cWJJ§:k:p

Signanue of Parent/Guardian: Date: /_/-

Chaperone Information (Chaperone must be at least twenty-one years old as of}une 10, 1996) Name of Chaperone: ______Home Address: City: State: Zip Code: Daytime Phone: ( Evening Phone: (\-__-' ______Relationship to Child: ______

f" ~.. , ., " _._;-_ ... -:-.- ~'.~ --:-~ .... _:_:_;" .. ,.. ~"'.-"." ... -" .-,~:.~"~ .. _:-: ....,-~" T'CC- -: ~'-:".-' "7'";- '-~.:---; ,.• ~~ ..... -. - _._ ... -'-.__ .' ..... -." ..•.• __ ~_ .. __..•••• -.~, ... ~. ~ •.. "._."", "" ~ ••. '" -, .. '~', ... ,-,'-.~-.- ..-"""-- - •. "._"-- ",.- .. - -r·.... "-"'''-...... ~~" ...... --... ~ ... '-,' .--" •. ~.- -- .. - I·· . .If'b~,dpti;;,;,h~~~,di,i;;i"CD;.~~h~;;:n:1g~~rr~f,h.p~2~i~b.~~i~i'"·s.;8;~~'

Director Information (Director must be an ACDA member in good standing) Name of Sponsoring Choir: ______Name of Director: ______Home Address: ______City: State: Zip Code: _____ DaytimePhone:('-___~ ___------Evening Phone: ('-__-' Number of years applicant has been a member of my choir: ___ Choir Affiliation (Check one): CI School CI Church CI Community

PAGE 34 CHORAL JOURNAL 1997 ACDA National Community Honor Choir Earl Rivers, conductor

N SATURDAY AFTERNOON, March 8, the 1997 ACDA National Community Honor Choir, under the direction of O Earl Rivers, will perform in the San Diego Civic Theater, home of the San Diego Opera. The program will demonstrate the variety and diversity of music that comprises community choir programs across the nation. The concert session will culminate with the premiere of the 1997 Raymond W. Brock Memorial Endowment commissioned composition in a combined performance with the 1997 ACDA National Two-Year College Honor Choir. The 200-plus participants of the Community Honor Choir will be selected from mixed-voice community choirs conducted by ACDA members. Singers in the Honor Choir will represent several types of organizations: 1) nonauditioned choirs, 2) auditioned choirs, 3) choirs with some paid members, and 4) self-supported or institutionally funded choirs with university and community members. The final roster will comprise a national choir that demonstrates the value of singing as a lifetime artistic activity.

·Cl!'!tTIson,1)niveF~ity ; .P.Q.Box3415Q5 .•... clelTlson,SC 29634~1505

Instructions for Preparing Audition Tape · Select a quality, high-bias standard cassette tape. For best results, use high-quality recording equip. ment and, if possi.ble, record I with Dolbx:® noise reduction. Clearlx: label the cassette tape and box with the name of the applicJll).J,_pLe£eILe_d_'LQke_PJlr-dS_LS2,~ AI, A2, Tl, T2, Bl, B2), and title(s) of the prepared solo(s). Mter the audition is completed, rewind the tape. ACDA will not I return audition cassettes. .

1. Identification. Clearly state your name, your preferred voice part, the name of the chorus in which you sing (or which you conduct), and the titles of your prepared solo and optional second solo. 2. Vocalization. Sing two unaccompanied major scales on any comfortable vowel, one from the middle of the voice to the lowest effective note and one from the middle of the voice to the highest effective note. 3. Prepared Solo. Perform an aria that reveals your best vocal quality. Make sure that some of your most beautiful singing is demonstrated within the first three minutes of your selection. Limit piano introduction to two or three measures. 4. Optional Selection. Perform a piece from the repertoire of the chorus in which you currently sing.

MAY 1996 PAGE 35 1997 ACDA National Community Honor Choir APPLICATION FORM

Please photocopy this page. Send separate application forms and audition tapes for each applicant. No limit is placed on the number of applicants from any single chorus. A $15, nonrefundable audition fee must be paid for each applicant. Checks should be made payable to ACDA.

Singer Information (Print legibly or type) Preferred voice part (Circle one): SI S2 Al A2 Tl T2 Bl B2

Name: ______Home Address: eity:~~~'~"~" " ,~" cc ~""'~,,'~c, """" "~,~, ~ ,,"""~~~"~ """"', C"~"",~""""," ,'~C "c"c"~~~'"~ "-~ """"~'~~,'~""~""State:~~~"Zip,Gode:"-'~~""""~~ , Home Phone: (___ ) ______Work, Phone: (___ ) ______Name of Choir: ______T-Shirt Size (Circle one): S M L XL XXL

Statement of ObligatIon , I have read the entire guidelines and application form and fully understand that selection for the 1997 ACDA National Community Honor Choir brings with it a significant musical and finaricialobligation. I understand that as a member of the Honor Choir I must pay a $65 participation fee and that ACDA is not responsible for dIe costs of my transportation, lodging, or meals. I further understand that I will be staying in the hotel--approximately$90 a night (single or double occupancy) for four nights--designated by dIe convention committee. I understand that I must arrive in San Diego, California, for registration and dIe first rehearsal on Wednesday afternoon, March 5, 1997, and that I must attend all Honor Choir rehearsals and bodl convention performances on Saturday afternoon, March 8,1997. I commit myself to having the music fully prepared according to the instructions I receive with the music packet.

Applicant's Signature: ______Date: __ , __ , __

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

Name: ______ACDA Membership No.: Home Address: City: State: Zip Code: Home Phone: (___ ) ______Work Phone: (___ ) ______

How well do you know the applicant and his or her abilities? ______

Rate the applicant as follows: poor to excellent poor to excellent Musicianship 1 2 3 4 5 Enthusiasm for quality work 1 2 3 4 5 Intonation 2 3 4 5 Positive, supportive attitude 2 3 4 5 Vocal technique 2 3 4 5 Ability to work within a group 1 2 3 4 5 Attentiveness 2 3 4 5 Ability to follow directions 1 2 3 4 5 Dependability 2 3 4 5 Ability ro accept criticism 2 3 4 5

Additional comments:

Realizing the significant musical and personal commitment required for this important event, I highly recommend the applicant for participation in the 1997 ACDA National Community Honor Choir.

Director's Signature: ______Date: __ , __ , __

PAGE 36 CHORAL JOURNAL ,'··>,f 1997 ACDA National I( 1919Y7 ii, i i,\\ /::'N i~f,- flO) ~ /tJ1LY i/ Ii Junior High School ,~19 iN,IV IE N i7l"f/l'i 0.\1',1.1 ! i Honor Choir ~n)1!4)l UI), }1,// !iAl}iI',:~ ti/~ Nancy Cox, conductor

Deadlines and Schedule October 1, 1996 Application form, audition tape, and $15, nonrefundable application fee (check made payable to ACDA) must be sent to: 1997 ACDA National Junior High School Honor Choir clo Kathy Anderson, National R&S Chair 1551 Parkview Avenue San Jose, California 95130 November 15, 1996 Notification by mail of acceptance into the 1997 ACDA National Junior High School Honor Choir (225 to 250 singers total). December 15, 1996 Check (made payable to ACDA) for the $65 participation fee must be sent to the above address (postmarked by December 15, 1996). January 1, 1997 Music packets, rehearsal tapes, and additional information and instructions sent to singers. , March 5, 1997 With music fully prepared according to instructions received with the music packet, singers arrive in San Diego, California, for registration and the first rehearsal. Rehearsals continue through Saturday morning, March 8. March 8,1997 Afternoon performance and conclusion of convention.

Instructions for Preparing Audition Tape Select a quality, high-bias standard cassette tape. For best results, use high-quality recording equipment and, if possible, record with Dolby® noise reduction. On the cassette tape and box, clearly write the name of the applicant, preferred voice part (SI, S2, AI, A2, Tl, T2, Bl, B2), and title of the second prepared solo (number four below). On the cassette box, list also the name of the director, the name of the choir (include city and state), and the student's voice range. After the audition is completed, rewind the tape. Note: Edited tapes will result in the applicant's disqualification. ACDA will not return audition cassettes. 1. Identification. Clearly state your name, age, grade in school, preferred voice part, and title of the prepared solo. 2. Vocalization. Sing rwo unaccompanied major scales on "mall," one from the middle of the voice to me lowest effective note and one from me middle of the voice to the highest effective note. Indicate the voice range on the application form. 3. First Prepared Solo. After giving the appropriate starting pitch designated below, sing the first verse of America (MJ' Countly 'Tis a/Thee) unaccompanied. Soprano 1 AI> above middle C Soprano 2 G~ above middle C Alto 1 EJ, above middle C Alto 2 D~ above middle C Tenor 1 B~ below middle C Tenor 2 AI> below middle C Bass 1 F below middle C Bass 2 D below middle C 4. Second Prepared Solo. Perform a piece that reveals your best vocal quality. Mal

Singer Information (Print legibly or type) Preferred Voice Part (Circle one): S 1 S2 Al A1 TI T2 B 1 B2 Name: ______Date of Birth: / / Name of Parent/Guardian: ______Home Address: City: State: Zip Code: Home Phone: (___ ) ______Parent/Guardian Work Phone: (___ ) (Continued)

MAY 1996 PAGE 37 Statement ofObligation 'X/e have read the entire guidelines and application .form arid fully understand that selection for·the· 1997. ACDA National Junior High School Honor Ghok brings with it. a significant musical and financial obligation. We understand that as a member of the Honor Choir the applicant must para $65 participation fee and that ACDA is not responsible for the costs of the applicant's transportation, lodging, or meals. We further understand: that tile applicant wilibe staying in thehotel~approximately $90 a night for four nights--:,-designated by the convention c(mimittee.We llriderstarid>~attheapplicant must arrive in San Diego, California, for registrationandthefirst rehearsal on Wednesday, . March 5, 1997, arid tha,tthe.applicant must. attend all Honor Choir n:hear~als and .the convention performance on Saturday afternoon, March 8, 1997.· The applicant willbe committed to having the music fully prepared according to theinsrructions inCluded in the music packet.

Applicant's Signature: ______Date: __ 1 __ 1 __

Signature of ParentIGuardian: Date: I I

Chap~rone IllfQrIIlation Each singer must be accompanied by an adult chaperone ;It least twenty-oIlt'! yeges olda.s QfQC!.()berLJ~2Q. Parentlguardians indicated above who will serve as their child's chaperone need only read and sign the statement of obligation below. Name: ______Home Address: City~:~~==~====~======~~======~~S~ta~t~e:~==~Z~ip~C~od~e~:~======~ _____ Home Phone: ('-__~ ______Work Phone: (\-. __ Relationship to Applicant: ______

[ .....-~-~~.~.~.~-.;:.~;.~.---.--.-~ .. -.. :...:;--.....-.-..··-·2I~~~~;6ri~·si~;~~~ri~~i-Obligation .•...... •... '. . ...•. . .•• ...... ". .

t " If the. applicant is selected forthe19971\:CpANationaLJ~nior Higll Sch()olf{orior.Choir, i wIUchaperone .the applicaIlttoSanpiego, f . California; March 5':':8, .1997. I understand that I will be staying "in thehotel,.:-~pproiimately$90ahight for four nights:""""designatedby the . i '. convention comfl1i~tee. r fUrther understand thaiTwiU be responsible for ensuring that theapplicam attends. all Honor Choir rehearsals and I. the. convention performance. IunderstandthatACDA is not responsible for the m~tsof my trarispOrtation, lodging, or meals. .I certifYthatI am ideast rweriry.:one yms.old as of Octob~r1j 1996:' ... . ! .. ,,.;._ ..... '. :;._ ,;".,~.' __ ... ___ ,_-",':._.:::';~': .. :" __ . ~,.~."',.". ,_ ..:~._. _,~ .... _:. .. _~._.l _ .. _ ..."'.:. __ :, ... ~,.:. ,. '-.. c.. ,;_ :"e_"': ... _'-'--'" ..0,_, .. __ .• : _..:.;,_ ,_~ •• ::_.,,' ..•.. _. ____ . __ .. _'"._._". >_, __ .. ' _ .' ._._~. ,, __ ._ .. _~.'"'.... . ' Chaperone's Signature: ______Date: I I

Director Information and Recommendation (Director must be an ACDA member in good standing) Name: ACDA Membership No.: Home Address: City: State: Zip Code: Home Phone: (~_-1 ______Work Phone: (___ ) ______Relationship to Applicant (Check one): 0 Choir director 0 Voice teacher 0 Other (Please specifY): ______

Name of School: of Principal: School Address: ______City: State: Zip Code:

Rate the applicant as follows: Citizenship Work Habits Attitude poor to excellent poor to excellent poor to excellent Supportive of others 1 2 3 4 5 Self-disciplined 1 2 3 4 5 Love of music 1 2 3 4 5 Team effort 2 3 4 5 Attention span 2 3 4 5 Pursuit of quality 2 3 4 5 Self-directed 2 3 4 5 Utilizes full potential 2 3 4 5 Desire for hard work 2 3 4 5 Task-oriented 2 3 4 5 Applies knowledge 2 3 4 5 Respect for authority 2 3 4 5 Musicianship poor to excellent Vocal quality 1 2 3 4 5 Indicate the singer's voice range: Vocal technique 2 3 4 5 Intonation 2 3 4 5 -or- Sense of ensemble 2 3 4 5 Overall artistry 2 3 4 5 Additional comments: ______

Director's Signature: ______Date: __ 1 __ 1 __

PAGE 38 CHORAL JOURNAL 1997 ACDA National Two-Year College Honor Choir William B. Hatcher, conductor

HE 1997 ACDA National Two-Year College Honor Choir, under the direction of William B. Hatcher, will offer two T performances at the National Convention in San Diego, California. One of the performances will feature the premiere of the 1997 Raymond W. Brock Memorial Endowment commissioned composition, which will be performed with the 1997 ACDA National Community Honor Choir. The 200 participants in the 1997 ACDA Two-Year College Honor Choir will be selected through a taped audition process. All singers must be members of a chorus conducted by an ACDA member. No limit is placed on the number of singers who can apply or be accepted from any single chorus or school. The final chorus will consist of singers from all seven ACDA divisions.

Deadlines and Schedule OctoberlO,1996 Application form, aucliti()h tape,and$J5,noriref~ndable:luditicinfee (checkIll~d~ payable to. ACDA) must be sent to: . .

1997 ACDANational Two~Year College Honor Ch()ir cloThomas Stauch, Nation:al R&S Chair .. Harper· College· MusiC Departmer'it 1200.WestAlgonquinR6ad Palatine, IL 60067

November·15,·1996

December 13, 1996

December 25, 1996

January and February 1996 March 4, 1997

March 8,1997

Instructions for Preparing Audition Tape Select a quality, high-bias standard cassette tape. For best results, use high-quality recording equipment and, if possible, record with Dolby® noise reduction. Clearly label the cassette tape and box with the name of the applicant, preferred voice part (51, 52, AI, A2, T1, T2, B1, B2), and title(s) of the prepared solo(s). After die auditlOn is completed, rewind die tape. ACDA wi11-n-o-t--­ return audition cassettes.

1. Identification. Clearly state your name, your preferred voice part, the name of the chorus and college where you sing, and the titles of your prepared solo and optional second solo. 2. Vocalization. Sing two unaccompanied major scales on any comfortable vowel, one from the middle of the voice to the lowest effective note and one from the middle of the voice to the highest effective note. 3. Prepared Solo. Perform an aria from Mendelssohn's Elijah or an aria (or recitative and aria) from Handel's Messiah. Malee sure that some of your most beautiful singing is demonstrated within the first three minutes of your selection. Limit piano introduction to two or three measures. 4. Optional Selection. Sing a second selection of your choice.

MAY 1996 PAGE 39 1997 ACDA National Two-Year College Honor Choir APPLICATION FORM

Please photocopy this page. Send separate application forms and audition tapes for each applicant. No limit is placed on the number of applicants from any single chorus. A $15, nonrefundable audition fee must be paid for each applicant. Schools may submit one check for multiple applicants. Checks should be made payable to ACDA.

Singer Information (Print legibly 01' type) Preferred voice part (Circle one): SI S2 Al A2 Tl T2 Bl B2 Alternate voice part (Circle one): SI S2 Al A2 T1 T2 B 1 B2

Nam~: ______Date of Birth: _____ Home Address: City: State: Zip Code: HomePhone:~) ______T-shirt Size (Circle one): S M L XL XXL

Street Address: ______City: State: Zip Code:

Statement of Obligation I have read the entire guidelines and application form and fully understand that selection for the 1997 ACDA National Two-Year College Honor Choir brings with it a significant musical and financial obligation. I understand that as a member of the Honor Choir I must pay a $65 participation fee and that ACDA is not responsible for the costs of my transportation, lodging, or meals. I further understand that I will be staying in the hotel-approximately $90 a night (single or double occupancy) for five nights-designated by the convention committee. I understand that I must arrive in San Diego, California, for registration and the first rehearsal on Tuesday afternoon, March 4, 1997, and that I must -attend all Honot Choir rehearsals-and bothc6uventibn- p-erformancesdn Saturday afternoon; March 8;1997; I commit myself to having the music fully prepared according to the directions I receive with the music packet.

Applicant's Signature: ______Date: __ / __ / __

Director Information and Recommendation (Director must be an ACDA member in good standing) Name: ACDA Membership No.: Home Address: City: State: Zip Code: Home Phone: (_____ ) Work Phone: (______

How well do you know the applicant and his or her abilities? ______

Rate the applicant as follows: poor to excellent poor to excellent Musicianship 1 2 3 4 5 Enthusiasm for quality work 1 2 3 4 5 Intonation 2 3 4 5 Positive, supportive attitude 2 3 4 5 Vocal technique 2 3 4 5 Ability to work within a group 2 3 4 5 Atten tiveness 2 3 4 5 Ability to follow directions 2 3 4 5 Dependability 2 3 4 5 Ability to accept criticism 2 3 4- 5

Additional comments:

Realizing the significant musical and personal commitment required for this important event, I highly recommend the applicant for participation in the 1997 ACDA National Two-Year College Honor Choir. I understand that I am required to attend the convention if the applicant is selected for the Honor Choir.

Director's Signature: ______Date: /

PAGE 40 CHORAL JOURNAL 1996 SUMMER FESTIVALS AND WORI(SHOPS

Editor's Note: Following is a partial list­ .MA¥ 18-19 , , , . ing of choral events that will talce place Sing Cincinnati! Artistry in Choral Music: between May and early September 1996. Cincinnati, Ohio A Reflective Practicum Events are listed chronologically and Universil:Jl ofNorth Texas include festivals, clinics, workshops, semi­ Meredith Boyd Denton, Texas nars, masterclasses, conferences, and Cincinnati Arts Festival, Inc. summer courses. Clinicians, where appli­ Fifth Third Bank Center clinicians: David Elliot Doreen Rao cable, are given in centered type, followed 511 Walnut Street, Suite 2300 by contact information. Information in Cincinnati, OH 45202 Jill Trinka this list was solicited from ACDA state 513/744-4491 • 513/744-8826 (fax) Center for Contemporary Studies presidents and music industries on the in Music Education ChomlJoumal advertising list. College of Music University of North Texas Children in Harmony Choral Festival Denton, TX 76203 Orlando, Florida 512/264-1851 512/264-1854 (fax) Continental Keynote Arts Associates, Inc. 1637 East Robinson Street· Orlando, FL 32803 407/897-8181 • 407/897-8184 (fax) , JUNE 2-12 Orchestral Conducting for Choral Directors United States Workshop Toronto, Ontario, Canada and Canada Heartland Children's Choral Festival Des lvIoines, Iowa clinicians: Raymond Chobaz Rohert Porco

c1inicans: James Cox Robert Crowder Tanya Campolin or Harry Hurwitz Symphonic Workshops Ltd. MARCH 8-JBNE 15 ,~ Dennis Darling Debra Gordon Sylvia Munsen Eugene Wilson 281 Pacific Avenue (Every weekend) Toronto, ON M6P 2P8 Des Moines Children's Choruses, Inc. Canada MusicFest Orlando 525 East Ninth Street, Suite B 416/760-9319 Orlando, Florida Des Moines, IA 50309 416/762-6258 (fax) 515/262-8312 • 515/262-8359 (fax) E-mail: [email protected] MusicFest Orlando 771 Kirkman Road, Suite 118 Orlando, FL 32811 800/734-0482 • 407/296-8587 (fax) Vocal Performance and Pedagogy Institute Texas Conference Choir Clinic Universil:Jl ofNorthern Iowa Lakeview lvlethodist Conference Center Palestine, Texas . MA¥10-11 Cedar Falls, Iowa Virginia ACDA State Conference clinician: Richard Miller clinicians: Michael Bedford Steven Curtis River Road Presbyterian Church John Hemmenway Kevin McChesney Richmond, Virginia Duane McDonald Kristi Miller Kathlyn Reynolds Andre Thomas Conference and Event Services clinician: Simon Carrington 8628 University Avenue Larry Larson Cedar Falls, IA 50614 Church of the Servant John Guthmiller 319/273-6899 • 319/273-2075 (fax) 14343 North MacArthur Boulevard 9610 Tracy Court· Richmond, VA 23233 Oldahoma Ciry, OK 73142 804/828-8880 (0) • 804/740-1909 (h) 405/728-4728 MA¥27-31 , " MA¥1l-12 Teaching Kids to Sing Festival of Great Lal{es Children's Choruses Texas Christian University Fort Worth, Texas Challenges in Middle School Choral Music Chicago Cultural Center University ofNorth Texas Chicago, Illinois clinician: Kenneth Phillips Denton, Texas

clinicians: Nick Page Rebecca Thompson Sheila Allen or Dennis Bubert clinician: Susan Conlding Department of Music Pat Washington Texas Christian Universiry Jill Trinka • See this page for address Chicago Children's Choir· Chicago Cultural Center TCU Box 297500 78 East Washington Street Fort Worth, TX 76129 Chicago, IL 60602 800/828-7134 312/849-8300, ext. 222 817/921-7344 (fax)

MAY 1996 PAGE 41 JUNE 6-11 JUNE 10-14 JUNE 12.:...c28 " . A Choral Conductors Workshop with Keys to a Successful Choral Program KodaIy Concept Levels I, II, III Henry Leck Ohio State University University ofNorth Texas North Carolina Summer Institute in Choral Art Columbus, Ohio Denton, Texas Boone, North Carolina clinicians: Hilary Apfelstadt Jerry Blackstone clinicians: Susan Brumfield Kathy Kuddes clinician: Henry Leek Lynn Corbin James Gallagher Jean Sinor Jill Trinka Eva Vendrei

Marta Force Hilary Apfelstadt or James Gallagher Jill Trinka· Seep. 41 for address North Carolina Summer Institute in Choral Art School of Music P.O. Box 10888 Ohio State University Greensboro, NC 27404 1866 College Road JUNE 16-20 9101275-3050 Columbus,OH 43210 Pliil-Mati:sorf Vl:fcal-Jazz/ ehoral-Worksh-ap 614/292-9926 or 614/292-4622 Southwestern Community College Creston, Iowa - JUNE 7-9 NCSICA Fourth Annual Children's Choir . JUNE lO~JULY 12 ' clinicians: Phil Mattson Voiceslowa Workshop------.------~L~u·~/e~uof"0~J=al,~'~"~-J------­ North Carolina Summer Institute in Choral Art Phil Mattson Boone, North Carolina Summer Session: Master of Church Music School for Music Vocations Concordia University Southwestern Community College clinicians: Henry Leck Mariette Lisk River Forest, Illinois Creston, IA 50801 Bill McCloud Elizabeth Rose 5151782-7081 • 515/782-3312 (fax) clinicians: Kurt Amolsch Richard Fischer Marta Force' See this page for address John Folkening Thomas Gieschen Jean Harrison David Held JUNE 16-21 Julia Hennig N atalie Jenne Conductor's Institute JUNE 9-14 Kenneth Kosche Robert Lind Southwestern University NCSICA Forty-fourth Annual Choral Luc Ponet Evangeline Rimbach Georgetown, Texas Workshop Carl Schalk Inge Teske North Carolina Summer Institute in Choral Art Willard Thomen Steven Wente Pam Wiese clinicians: B. R. Henson Kenneth Sheppard Boone, North Carolina Evangeline Rimbach Kenneth Sheppard clinicians: Anton Armstrong William Cutter Music Department· Concordia University Southwestern University Tom Janssen Janeal Krehbiel 7400 Augusta Street P.O. Box 770 Elizabeth Rose Michael Weaver River Forest, IL 60305 • 708/209-3060 Georgetown, IX 78627 512/863-1358 Marta Force' See this page for address JUNE 12-16 CCM Summer Choral Workshop 1996 JUNE 16-22 University ofCincinnati CoLLege-Conservatory Showchoir Camps of America Phil Mattson Vocal Jazz/Choral Workshop ofMusic MiLLikin University Western Michigan University Cincinnatz; Ohio Decat!t/~ Illinois Kalamazoo, Michigan clinicians: John Leman Earl Rivers Showchoir Camps of America clinicians: Phil Mattson VoicesIowa Sir David Willcocks P.O. Box 583 Michele Weir Steve Zegree Naperville, IL 60566 CCM Summer Choral Workshop 1996 708/355-5551 Steve Zegree Division of Ensembles and Conducting Department of Music University of Cincinnati • Cincinnati, OH 45221 Western Michigan University 513/556-2696 • 513/556-2698 (fax) JUNE I6~JULY 28 Kalamazoo, MI 49008' 616/387-4689 E-mail: [email protected] Rensselaer Program of Church Music and Liturgy JUNE 9-15 JUNE 12-22 Saint Joseph s CoLLege Rensselaer, Indiana Vocal Performance and Teaching Workshop Banff Centre Choral Workshop Northern Arizona University Banff, Alberta, Canada clinicians: James Challancin J. Bradford Gee Flagstaff, Arizona Philip Gehring Lawrence Heiman clinician: Eric Ericson John McIntyre Marilyn Schauble clinician: Richard Miller Mary Jane Wagner Charlotte Zalot Leonard Ratzlaff Paul Kiesgen Department of Music James Challancin School of Performing Arts University of Alberta Saint Joseph's College Northern Arizona University Edmonton, AB T6G 2C9 • Canada P.O. Box 984 P.O. Box 6040 4031762-6180 • 403/762-6345 (fax) Rensselaer, IN 47978 Flagstaff, AZ 86011 • 520/523-3849 E-mail: [email protected] 800/447-8781 Homepage: http://www.banffcentre.ab.ca E-mail: [email protected]

PAGE 42 CHORAL JOURNAL JUNE 17-21 ' JUNE 2 I-JULY 7 Beverly Clement· P.O, Box 854 National Association of Pastoral Musicians Oregon Bach Festival Tupelo, MS 38802 • 601/842-6666 Chant School University ofOregon St. Michael's College Eugene, Oregon Bm'lington, Vermont clinicians: Dennis Russell Davies Maria Guinand Phil Mattson Vocal Jazz/Choral Workshop clinician: William Tortolano John Harbison Robert Levin Foothill College Helmuth Rilling Christoph Wolff Los Altos Hills, California Barbara Girolami • NPM Schools and Institutes National Association of Pastoral Musicians Oregon Bach Festival clinicians: Emily Gates Phil Mattson 225 Sheridan Street NW Hult Center for the Performing Arts Nile Norton Voiceslowa Michele Weir Washington, D.C. 20011 School of Music • University of Oregon 202/723-5800 • 202/723-2262 (fax) Eugene, OR 97403 • 800/457-1486 Emily Gates 90 Plata Court Novato, CA 94947 JUNE 22-28 415/892-3161 Robert Page Conducting Workshop Masterclass 1996 Cleveland State University Lakeside, Ohio Cleveland, Ohio JUNE 23-29 clinicians: Dennis Jewett Ann Howard Jones Texas Showdown Showchoir Camp clinician: Robert Page Joseph Joubert Janeal Krehbiel Texas Christian University Barbara MacGregor Marjorie Ness Fort Worth, Texas Betsy Burleigh Paul E. Oaldey Eric R. Riley Department of Music • Cleveland State University clinicians: Debbie Pesnell Russell Robinson 1983 East Twenty-fourth Street Ita Yellek • 7314 Claredon Drive Cleveland, OH 44115 Edina, MN 55439 • 612/942-0866 Sheila Allen or Dennis Bubert 216/687-2030 • 216/687-9279 (fax) Seep. 41 for address

JUNE 23-26 JUNE 17-22 JUNE 24:-26 Fourth Annual Four Corners Choral Systematic Vocal Techniques with Workshop Choral Music and Choreography All-School Applied Alexander Technique Northern Arizona University Symposium Texas Christian University Flagstaff, Al'izona Edgewood College Fort Worth, Texas Madison, Wisconsin clinicians: Lynn Bielefelt Axel Theimer clinicians: Richard Miller Carol Sedgwick Andre Thomas clinicians: Ruth Antrim Lowell Everson Audrey Grier Gene Grier Sheila Allen or Dennis Bubert Edith A. Copley • NAU Choral Studies See p. 41 for address Box 6040 • Flagstaff, AZ 86011 Music Unlimited 520/523-2642 P.O. Box 990 Clarkston, MI 48347 JUNE 21-23 810/625-7057 Cornerstone Choral Workshop . " JUNE 23-28 Mount Cannel, Minnesota Lakeshore Choral Music Camp and Seminar Roosevelt State Park UWM/Hal Leonard Summer Choral clinicians: Rolf Anderson Kay Hoffland Morton, Mississippi Bruce Vantine Institute University of Wisconsin-Milwaukee clinicians: Allen Crowell Lynne Gaclde Milwaukee, Wisconsin Cornerstone Choral Workshop Kathleen Shannon Paul Torkelson c/o Mt. Carmel Ministries Attn: Renee Moen • P.O. Box 22705 clinicians: Mark Cabaniss Emily Crocker Stacy Weger Sharon Hansen John Leavitt William Lavonis Minneapolis, MN 55422 1500 East Third Street· Forest, MS 39074 612/521-4311 • 612/846-2744 (after June 1) 6011469-2615 (0) • 601/469-4023 (h) Sharon Hansen l------~------Bepartmen~f_Music,_---' JUNE 21-23 and/orJUNE 25-29, School of Fine Arts University of Wisconsin-Milwaukee Also offiredAugust 2-4 and/or August 5-10 Music and the Liturgical Arts in P.O. Box 413 Worship Week Milwaukee, WI 53201 A Cappella through the Ages Lake Junaluska, North Carolina 414/229-4595 Smith College Northampton, Massachusetts clinicians: Lee Mdahl Betty Bedsole Assistant Conductor for the Girls Choir of Harlem. Duties Anne Burnette Judy Fountain include elementary and high school-level instruction in voice clinician: Western Wind Vocal Ensemble Ray Fountain Peter lnfanger andlor theory. Position begins July I. Send resume, letter of application, and three letters of recommendation to: David Barbara Kinyon Linda McKechnie Crone, Chair· Search Committee· Boys Choir of Harlem· Western Wind Yocal Ensemble Phil Porter Don Saliers Dan Stokes 2005 Madison Avenue' New York, NY 10035·1298, Do not 263 West Eighty-sixth Street Jerry Ulrich Will Willimon send tnpes until requested, Deadline: May 24, 1996. New York, NY 10024 • 212/873-2848 Cynthia Winton-Henry BOYS CHOIR OF HARLEM

MAY 1996 PAGE 43 Texas All-State Choir Clinic JUNE 24-30 JUNE 30~JULY 13 University of Texas at San Antonio Gregorian Chant Institute Summer Programs for High School Sail Antonio, Texas Claremont Scbool of Theology M usicians-Vocal Institute Claremont, Califlmia Westminster Choir College ofRider University clinicians: John Silantien Gary Mabry Others Princeton, NeUJ jers!!)' clinician: Columba Kelly John Silantien clinicians: Margaret Cusack Elem Eley Division of Music Roberr Fowells Tom Faracco Anne Ashley Gray University of Texas at San Antonio Roger Wagner Center for Choral Studies James Jordan Laura Brooks Rice San Antonio, TX 78249 California State University, Los Angeles 210/691-5328 5151 State University Drive Westminster Choir College· See this page for address E-mail: [email protected] Los Angeles, CA 90032 213/343~4067· Ecmail: [email protected] JULY 1-5 JUNE 24-28 Caught in the Middle Gregorian Chant I: A Theoretical and JUNE 25-28 University ofHartford Practical Study 1996 National Association of Pastoral West Hartfold, Counecticllt Westminster Choir College ofRider University Musicians Region III Convention PriiUtiiiiii;NeUJ Jersey Bruce Hall Convention Center and Hilton Hotel clinician: AI Holcomb JvIilulIwkee, Wisconsin clinician: Gerard Farrell Ham Summerrerm • See tbis page for address Various clinicians Office of Continuing Education Westminster Choir College of Rider University Barbara Girolami • See p. 43 for address 101 Walnur Lane Five Perspectives on the Choral Rehearsal Princeton, NJ 08540 Westminster Cboir College ofRider University 609/924-7416, ext. 227 Princeton, NeUJ jersey Brightleaf Music Workshop jordan High Scbool clinicians: James Jordan Others Durham, North Caroliua Group Vocal Technique Wesrminster Choir College • See this page for address Westminster Choir College ofRider University Princeton, NeUJ jersey clinicians: Dan Huff Annette Layman Tara Penick Steve Roddy

clinician: James Jordan Jill Bashore Folk Music in Choral Settings: Finding, BrighdeafMusic Workshop Evaluating, Performing, and Arranging Westminster Choir College Universit:/ ofHartford See this page for address 1800 Martin Lurher King Parkway, Suite 103 Durham, NC 27707 West Hartfold, Connecticut 919/493-0385 clinician: Nina Gilbert

Sustained Survival: Middle School Choral Ham Summerrerm • See tbis page for address Excellence in a Changing Education World JUNE 29-JUI.iY 3 University ofHartford AmericaFest-International Singing Festival West Hartford. Connecticut for Men and Boys St. john s University Gregorian Chant II: Paleography and clinician: Sandra Chapman Collegeville, JvIinnesota Semiology Westminster Choir College ofRider Universil:Jl Hartt Summerrerm clinicians: Carl Hogset James Litton Princeton, NeUJ jersey University of Harrford Phil Mattson 200 Bloomfield Avenue clinician: Gerard Farrell West Hartford, CT 06117 Carol Stewart 800/955-4278 Alliance for Arts and Understanding Westminster Choir College • See this page for address 860/768-4441 (fax) 34 Fox Creek Drive Waukee, 1A 50263 515/987-1330 • 515/987-5480 (fax) KodaIy Certification: Levels I and III Westminster Choral Festival Westminster Choir College ofRider University Westminster Choir College ofRider University JUNE 30-JULY 6 Princeton, NeUJ jersey Princeton, NeUJ jersey Des Moines International Children's Choral Festival: Hispanic Influences in Choral Music clinicians: Carol Brown Susan Brumfield clinician: Doreen Rao Des Moines, IOUJa Sean Deibler Jean Sinor Pat Windemuth

Westminster Choir College Des Moines Children's Choruses Wesrminster Choir College • See this page for address See tbis page for address See p. 41 for address

PAGE 44 CHOR.AL JOUR.NAL Orff Certification: Level I 1996 National Association of Pastoral Choral Conducting: Gesture and Application Westminster Choir College ofRider University Musicians Region II Convention University ofHartford Princeton, New Jersey Shemton Hotel West Hartford, Connecticut Cleveland, Ohio clinicians: Angela Broeker Jay Broeker clinician: Michael Yachanin Brian Burnett Various clinicians Hartt Summerterm • Seep. 44 for address Westminster Choir College • Seep. 44 for address Barbara Gitolami • Seep. 43 for address

Developing the Child Voice through Children's Celebration Choral Festival Church Music Summer Conference Classroom and Choral Singing Garden Grove, California Virginia Wesleyan College Westminster Choir College ofRider University NOifolk, Virginia Princeton, New Jersf!)' clinician: Stephen Hatfield clinicians: Anton Armstrong Deborah Carr clinician: Joan Gregoryk Keynote Arts Associates • See p. 41 for address Steven Cooksey Helen Kemp Kevin McChesney Don McCullough Westminster Choir College • See p. 44 for address Lou Sawyer Fenton Wicker Carlton Young JUE¥6-13 Sandra Billy GALA Choruses Festival V Center for Sacred Music How to Establish a Safe and Effective Tampa Bay Pelfomling Arts Center alld Tampa Virginia Wesleyan College Spealcing Voice Convention Center 1584 Wesleyan Drive' Norfolk, VA 23502 Westminster Choir College ofRider University Tampa, Florida 804/455-3376 • 804/466-8526 (fax) Princeton, New Jersey

clinicians: Ysaye Barnwell Roger Bourland clinician: Anat Keidar David Conte Rodney Eichenberger Patricia Hennings Joseph Jennings Phil Mattson Vocal Jazz/Choral Workshop Westminster Choir College • Seep. 44for address Erika Luckett Donald Skirvin Gwyneth Walker Governor Simcoe SecondtllJI School St. Catherines, Ontario, Canada Mark Puig GALA Festival V clinicians: Russ Baird John Chalmers Writing for Voices 1222 Sourh Dale Mabry, #602 Rejean Marois Phil Mattson Westminster Choir College ofRider University Tampa, FL 33629 John Trepp Voiceslowa Princeton, New Jersey 813/837-4485 • 813/837-0810 (fax) E-mail: [email protected] Chris McLaughlin clinician: Alice Parker Governor Simcoe Secondary School 15 Glenview Avenue Westminster Choir College • See p. 44 for address St. Catherines, ON L2N 2Z7 Ohio Choral Directors Association Summer Canada • 905/934-4006 Convention Wright State University Fellowship of United Methodists in Music Dayton, Ohio JlJL¥7-14 ' and Worship Arts-South Central Music for Everyone Jurisdiction: Fellowship Roundup at the clinicians: James Jordan Henry Leek Keene State College Georgetown Corral Keene, New Hampshire Southwestern University Hank Dahlman Georgetown, Texas Department of Music clinician: David Darling Wright State University clinicians: Rosalie Branigan Rex Carleton Dayton, OH 45435 Peter Hawes Suzanne Cate Micl'}' Cloud Robert E. Hayes, Jr. 513/873-3721 • 513/873-3786 (fax) Music for People, Inc. Rosemagr Hefley Brad IGsner 376 Newtown Turnpike. Redding, CT 06896 Elsie Martin-Simon Mimi Nimocks 203/938-0367 • 203/938-0329 (fax) Steve Roddy Arnold Sherman JUL¥7-12 ______E~mail.:_mfp@pGnet,Gom------c:::C:::hc:::ar"'le=s'-'B"'.-'S""im=m"-'o""n"'s ______--i 1996 Choristers Guild Summer Event Rocldmrst College Betty Partridge I Kansas City, ivfissollri JULY 8-12 1116 Briarcliff Court ~ Wichita, KS 67207 • 316/682-3708 Beginning Choral Conducting \'1 clinicians: Lee Gwozdz John Leavitt Westminster Choir College ofRider University Mary Lynn Lightfoot Pat Messick Princeton, New Jersey I Paula Winans Music Director/Organist clinician: Allen Crowell Patty Evans $20,000 :... $24,000 Send resume to: Choristers Guild t Westminster Choir College • Seep. 44 for address St.Elizabeth Seton Catholic Church 2834 West Kingsley Road 6628 Santa Isabel Street Garland, TX 75041 Carlsbad, CA 92009 214/271-1521 • 214/840-3113 (fax) '-'-_----C..---""'-'.""61""9=/43 8-3393......

MAY 1996 PAGE 45 JULY 9-13 JULY 12-19 Annual Summer Choral Holiday Workshop ChoralAmerica: High School Emphasis VoiceCare Network: Impact Course Ripon College Lafayette College St. John's University Ripon, Wisconsin Easton, Pennsylvania Collegeville, Minnesota clinicians: Paula Rockwell Sir David Willcocks clinicians: Sally Albrecht Russ Robinson clinicians: John Cooksey Patricia Feit Jonathan Willcocks Rick Weymuth Elizabeth Grefsheim Alice Pryor George Pryor Axel Theimer Leon Thurman Green Lake Festival of Music ChoralAmerica P.O. Box 569 Educational Programs Network Axel Theimer Green Lalce, WI 54941 1784 West Schuylkill Road Department of Music 4141748-9398 Douglassville, PA 19518 St. John's University· Collegeville, MN 56321 800/323"-0974"0 '610/327-4786 (fax)' 612/363=3374-·612/363-"'2504 (fax) E-mail: [email protected] E-mail: [email protected] JULY 15-1S ChoralAmerica: Junior High/Middle S~hool Emphasis _ JULY 9-14 . JULY 13-20 Towson State University Ghureh-Music-Summer-Camp------.lnstitute-of-Vocal-l!erformance_f>edagog:y: __---=-cTo~w~s,on,jifalJ'.l~a'.'.'nd"'-- ______Saint Joseph's College Oberlin College Rensselaer, Indiana Oberlin, Ohio clinicians: Sally Albrecht Russ Robinson

James Challancin • Seep. 42 for address clinician: Richard Miller ChoralAmerica • See this page for address

Anna Hoffmann jULY9-1S Office of Outreach Programs JULY 15-19 • Advanced Choral Conducting Conservatory of Music • Oberlin College Alexander Technique for Musicians • Choral Techniques and Methods 77 West College Street' Oberlin, OH 44074 Westminster Choir College ofRider University University ofRochester 2161775-8044 • 2161775-8942 (fax) Princeton, New Jersey Rochestel~ New York clinician: Hillary Mayers clinician: William Weinert Hymn Society Annual Conference Westminster Choir College • Seep. 44 for address Summer Session Oberlin College Department CJ Oberlin, Ohio Eastman School of Music 26 Gibbs Street· Rochester, NY 14604 clinicians: Alan Barthel David Boe Beginning Choral Conducting 800/873-2758 Peter Cutts Carl P. Daw, Jr. Marilyn Keiser Westminster Choir College ofRider University Shirley Erena Murray Nicholas Temperley Princeton, New Jersey

JULY 10-12 W. Thomas Smith clinician: Allen Crowell Hymn Society Illinois ACDA Re-Treat '96 Westminster Choir College • Seep. 44 for address Millikin University Texas Christian University Decatur, Illinois P.O. Box 30854 Fort Worth, TX 76129 800/843-4966 • 817/921-7333 (fax) clinicians: Eph Ehly Paul E. Oakley Choral Music Experience: Conducting Charles K. Smith Workshop for Teachers , JULY 1-#19 (Certification Levels I-III) Lane Galloway University ofHartford 406 South Henry' Eureka, 1L 61530 Houston Choral Festival West Hartford, Connecticut 309/467-4235 University ofHouston Houston, Texas clinicians: Kathy Armstrong David Elliott Janet Galvan Francisco N uiiez JULY 10-13 clinicians: Robert Brewer Charles S. Hausmann Missouri ACDA Summer Convention Hartt Summerterm • Seep. 44 for address Capitol Plaza Hotel Carol Ostlind Jeffirson City, Missouri 5300 Main Street Houston, TX 77004 clinicians: Charlotte Adams Janeal Krehbiel 713/529-8?00 • 713/526-4635 (fax) Dalcroze Eurhythmics in the Classroom and Susan McMane Rebecca Rottsolk Private Lesson Ethelyn Sparfeld Westminster Choir College ofRider University JULY 14+20 Princeton, New Jersey Charles Robinson Showchoir Camps of America Conservatory of Music Heidelburg College clinician: Tom Parente University of Missouri-Kansas City Tiffin, Ohio 4949 Cherry' Kansas City, MO 64110 Westminster Choir College • See p. 44 for address 816/235-2930 • 816/235-5265 (fax) Showchoir Camps ofAmerica • Seep. 42 for address

PAGE 46 CHORAL JOURNAL Everything You Want to Know about Choir Training, But Didn't Learn in Music School Summer Session: Master of Church Music Vocal Academy for High School Students Westminster Choir College ofRider University Concordia University Oberlin College Princeton, New Jersey River Forest, Illinois Oberlin, Ohio

clinician: John Bertalot See p. 40 for clinicians clinicians: Gerald Crawford Daune Mahy

Westminster Choir College • Seep. 44 for address Evangeline Rimbach • See p. 42 for address Arina Hoffmann • Seep. 46for address

The Science of the Voice Indiana Choral Directors Association Westminster Choir College ofRider University Choral Traditions and Technology: Massachusetts ACDA Summer Conference Summer Conference Princeton, New Jersey Bridgewater State College University ofIndianapolis Bridgewater, Massachusetts Indianapolis, Indiana clinician: Thomas Cleveland

clinicians: Alice Parker Others clinicians: Nancy Cooper Paul Salamunovich Westminster Choir College • Seep. 44for address Axel Theimer Kay Dunlap 24 Prospect Street Nancy Selby Vocal Techniques in Baroque Literature Sherborn, MA 01770 8468 South 362 East 508/655-1556 Jonesboro, IN 46938 University ofRochester Rochester, New York

clinician: Julianne Baird International Choral Festival 1996 Choristers Guild Summer Event Eastman School of Music • Seep. 46for address Missoula, Montana Calvin College Grand Rapids, Michigan International Choral Festival clo AdScripts, Inc.• P.O. Box 8168 clinicians: Michael Bedford Carl Daw National Association of Pastoral Musicians Missoula, MT 59807 Sally Herman Mary Lynn Lightfoot Choir Director Institute 406/542-3481 Pat Messick Anna Laura Page Darrell Woomer Blyn Mawr College Philadelphia, Pennsylvania Patty Evans • Seep. 45 for address

clinician: Rob Strusinslci Kansas ACDA Summer Convention Wichita Marriott Hotel Barbara Girolami • Seep. 43 for address Wichita, Kansas Bonclarken Music Conference Bonclar/len Assembly clinicians: Anton Armstrong Sue Barham Flat Rock, North Carolina JIlL¥, 15-4,6 . Terry Barham Jim Casey Deon Hall Hartt KodaIy Certification Program Sally Herman Mac Huff clinicians: Anton Armstrong Craig Denison (Levels I-III) Valeria Lippoldt-Mack Jing Ling Tam John Ferguson Sandy Holland Andre Thomas Paula Wilson University ofHartford West Hartford, Connectiwt Joe F. Dolezal 2800 Country Lane' Hays, KS 67601 Linda Miller P.O. Box 334 clinicians: John Feierabend I1dik6 Herboly 913/623-2600 (0) • 913/625-6276 (h) Pauline, SC 29374 Al Holcomb Jill Trinka 803/585-2271 Hartt Summerterm • Seep. 44 for address • Children's and Youth Choir Reading Session " JUJIJiY 21-27 • Christmas Sacred Choral Music Reading " JUJL¥ 15-2:;(' , , ",' Session CHORUS AMERICA's Saranac Lal{e Conducting 1-----'Ghoral-Gonducting-Symposium------o-Gener-al-£aGfed-Ghor-al-Music_Reading'-----__W-'-'--'o"-rl""{S"'h~o.R------j California State University, Long Beach Session Saranac Lake, New Yorll Long Beach, California • Praise and Celebration Choral Music Reading Session clinicians: Vance George Margaret Hillis Dennis Keene Gregg Smith clinicians: John Alexander William Belan Winnetlla Bible Church Edward Cumming Lori Loftus Winnetka, Illinois Jennifer Sherwood Robert Page Jerry Rubino clinicians: Ruth Antrim Don Besig CHORUS AMERICA 1811 Chestnut Street, Suite 401 Gary L. Unruh Lowell Everson Audrey Grier Philadelphia, PA 19103 Department of Music Gene Grier Rev. Dave Leeman 215/562-2430 • 215/563-2431 California State University, Fresno E-mail: [email protected] Fresno, CA 93740 • 209/278-2539 Music Unlimited • Seep. 43 for address

MAY 1996 PAGE 47 Improvising Chamber Music Intermediate Choral Conducting • Praise and Celebration Choral Music Keene State College Westminster Choir College ofRider Univmity Reading Session Keene, New Hampshire Princeton, New JerseJI Highland Park Baptist Church Southfield, Michigan clinician: David Darling clinician: James Jordan clinicians: Don Besig Danielle Blanchard Peter Hawes • Seep. 45 for address Westminster Choir College • Seep. 44 for address Lowell Everson Audrey Grier Gene Grier Gil Jackson

JULY 21-28 Music Unlimited· Seep. 43 for address Brightleaf Music Workshop Negro Spirituals and Gospel Songs: Tech­ Dulce University nique and Performance Durham, North Carolina WeStnziJlstel' Choir College ofRidr;r University Princeton, New Jersq Showchoir Camps of America clinicians: Andy Baker Barbara Baker Walt Disney lYlorld® Resort Nancy Bocek clinicians: Donald Dumpson Od,ers Orlando, Florida Tony Gibson Westminster Choir College • Seep. 44 for address ~howchoir Camp.;'i ofAmerica • Seep. 42.h,-r~ad.~~~ln:::'ss,--- ___ Mac Huff Tara Penick Steve Roddy Steve Zegree JULY 28-30 Jill Bashore • Seep. 44for address Teaching toward 2000: A Frances Clark Workshop Oldahoma ACDA Summer Convention Westminster Choir College ofRider University Norman High School Norman, Oldahoma JULY 21-AUGUS'I' 11 Princeton, New JerseJI The Sixth Robert Shaw Choral Institute clinicians: Barbara Conable Kenneth H. Phillips Summer Festival clinicians: Louise Goss Sam Holland Phyllis Lehrer Elvina Pearce Parll City, Utah Janis Dawson Westminster Choir College • Seep. 44 for address 8201 SW Thirty-sixth Street clinician: Robert Shaw Oklahoma City, OK 73179 405/745-3817 Maurice Casey 1339 Beechlake Drive Voice Pedagogy Forum and Workshop Columbus, OH 43235 Westminster Choir College ofRider University JULY 28-AUGUS'I' 2 614/888-7005 • 614/888-0115 (fax) Princeton, New Jersey South Dalmta ACDA Summer Conference University ofSouth Dakota clinicians: Stephen Austin Thomas Cleveland Vermillion, South Dalwta JULY 22-25 Gillian Cookson Will Crutchfield Iowa Choral Directors Association Summer Barbara Honn Marvin Keenze Dione Peterson Convention/Symposium William Mciver Karen Peeler Clifton Ware Washington Senior High School North Iowa Area Community College 315 South Main Avenue Mason City, Iowa Westminster Choir College • Seep. 44 for address Sioux Falls, SD 57102 605/367-7957 clinicians: Jean Ashworth Barde Peter Bagley Greg Gilpin Keith Hampton JULY 22-AUGUS'I' 2 Carl Hogset Dick Larson UCLA Summer Choral Workshop Terri McPheeters Fritz Mountford University ofCalifomia at Los Angeles St. Dunstan's College Conference on Axel Theimer Constantina Tsolainou Los Angeles, Califomia Sacred Music Tom Voorhis Salve Regina Universit)1 clinicians: Timoiliy Mussard Donald Neuen Newport, Rhode Island Bruce Norris Paul Salamunovich Alexander Treger 420 Maple Street clinicians: Douglas Marshall Paul E. Oaldey Mondamin, lA 51557 Summer Choral Workshop 712/646-2621 Department of Music Brian Larkin Schoenberg Hall 49 Roslyn Avenue University of California, Los Angeles Providence, RI 02908 JULY 22-26 405 Hilgard Avenue 401/272-8318 Choral Solutions Los Angeles, CA 90095 University ofHartford 310/825-4036 West Hartford, Connecticut JULY 28-AUGUS'I' 3 Middle School Vocal Camp clinician: Carroll Gonzo Westminster Choir College ofRider University • Children's and Youth Choir Reading Session Princeton, New Jersq Hartt Summerterm • Seep. 44 for address • Christmas Sacred Choral Music Reading Session clinicians: Mark Anderson Sue Ellen Page • General Sacred Choral Music Reading Session Westminster Choir College • Seep. 44 for address

PAGE 48 CHORAL JOURNAL JI.Jl:;¥ 29 Foundations of Kindermusik Advanced Kindermusilc Techniques Foundations of Kindermusik Westminster Choir College ofRider University Westminster Choir College ofRider UniversilJl Westmimter Choil' College ofRider University Princeton, New Jersq Princeton, New Jersey Princeton, New Jerse)1 clinician: Elaine Harris clinician: Elaine Harris clinician: Linda Swears Westminster Choir College • Seep. 44 for address Westminster Choir College • Seep. 44 for address Westminster Choir College • Seep. 44 for address JULY 31-AUGUST 2 ' JI.Jl:;¥ 29-31 Nebraska Choral Directors Association/ • Chil~en's and Youth Choir Reading Session • Chnstmas Sacred Choral Music Reading Colorado ACDA Summer Workshop '96 Wingert-Jones Music Company Choral Reading Clinic-Convention Session Wellshire Presbyteriall Church • General Sacred Choral Music Reading Session Delwel; Colorado Nebraska Wesleyan University Lincoln, Nebras/,a • Praise and Celebration Choral Music Reading Session clinicians: John Leavitt Axel Theimer clinicians: Dale Grotenhuis Sally Herman Point Loma Nazarene College San Diego, California Jerrald D. McCollum Jim IGmmel Loretta Mitchell Morgan 420 South Marion St. Parkway, #1301 clinicians: Audrey Grier Gene Grier Denver, CO 80209 • 303/758-2233 (0) James Hejduk Benjamin Harlan Melva Morrison Keith Pagan 303/778-9313 (h) • 303/722--4195 (fax) School of Music Universiry of Nebraska-Lincoln Lincoln, NE 68588 Music Unlimited • Seep. 43 for address JULY 29-AUGUST 2 402/472-2993 Intermediate Choral Conducting Westminster Choir College ofRider University Kindermusik for the Young Child: Year I Princeton, New Jersey Westminster Choir College ofRider UniversilJl Choral Panorama '96- Princeton, New Jersey clinician: James Jordan School Choral Workshop Or/ando North Hiltoll and Towers clinician: Linda Lockart Westminster Choir College • Seep. 44 for address Altamonte Springs, Florida Westminster Choir College • See p. 44 for address clinicians: Rene Clausen Lynne Gaclde Fritz Mountford Russ Robinson clinician: Linda Spevacek Kinderchor Children's Choir Institute ~ : - AUGUST 2-3 Otterbein College Tennessee ACDA Summer Music Conference Westerville, Ohio Bill Head Head's House of Music Brentwood United Methodist Church Brentwood, Tennessee clinicians: Amy Chivington Emily DePaul 5507 North Florida Avenue Nancy Davis IGser Linda Nolan Tampa, FL 33604 813/234-9181 clinician: Ken Fulton

Amy D. Chivington Tim Ward Department of Music • Otterbein College P.O. Box 4669 Westerville, OH 43081 • 614/823-1110 (0) AUGUST 1-3' Oak Ridge, TN 37831 • 423/483--4357 614/431-2159 (h) • 614/823-1118 (fax) 1996 Choristers Guild Event Kings College Willm-Barre, Pennsylvania AUGUSSF 2+4 and/or AUGUST 5-10 - Kindermusik Beginnings clinicians: Lee Gwozdz Helen Kemp A Cappella through the Ages Smith College Westminster Choir College ofRider University Jean Anne Shafferman Michael Wustrow Northampton, Jvlassachusetts Princeton, New Jersey Patry Evans • Seep. 45 for address clinician: \Vestern Wind Vocal Ensemble clinician: Linda Swears

Westminster Choir College • Seep. 44 for address WesterrrWirrd-Vucal-Ensemble-'-S7?e-p~3fiJ7-m1drl!sjr---- 1996 Choristers Guild Event Colorado School ofMines . AUGUST 2-9 JI.Jl:;Y 31 . Golden, Colorado VoiceCare Network: Impact Course • Growing with Kindermusik clinicians: Patty Evans Rebecca Gruber • Kindermusik: The Music Box UniversilJl ofHartford Randy McChesney James Steel West Hartforcl, Connecticut Westminster Choir College ofRider UniversilJl Princeton, New Jers!!), Patry Evans • Seep. 45 for address clinicians: John Cooksey Patricia Feit Elizabeth Grefsheim Alice Pryor clinician: Linda Swears George Pryor Axel Theimer Leon Thurman Westminster Choir College • Seep. 44 for address Axel Theimer • Seep. 46for address

MAY 1996 PAGE 49 AUGUST 3 Minnesota Choral Directors Association AUGUST 7-10 Kindermusik: The Music Box Summer Dialogue 1996 National Association of Pastoral Westminster Choir College ofRider University Winona State University Musicians Region IV Convention Princeton, New Jersey Winona, Jvlinnesota Adam's Mark Hotel DellVel~ Colorado clinician: Linda Lockart clinicians: Lawrence Burnett Rhonda Fleming Jim Gallagher Paul Oaldey Various clinicians Westminster Choir College • Seep. 44 for address Michael Smith Barbara Girolami • Seep. 43 for address 631 Homestead Drive, South • Baxter, MN 56401 AUGUST 447 218/828-5277 (0) • 218/829-8142 (h) California ACDA Summer Choral AUGUST 12-16 Workshop ECC0'96 NationalAssociationofPastoralcMusicians-~ Oakhurst, California Vocal Techniques for the Young Singer Choir Director Institute Westminster Choir College ofRider University Mt. St. Mmy's College clinician: Albert McNeil Princeton, New Jersey Los Angeles, California

Ken Abrams' 41 Picard}' Court ----:----::-~~~'-'-"""'--:--'-''--'--=~'-'='''-''''-'------clinician:-Henry-leck:------Walnut Creek, CA 94596 • 510/939-7562 Barbara Girolami • Seep. 43 fol' address Westminster Choir College • See p. 44 for address AUGUST 4411 Music Theater Workshop AUGUST 13-15 Westminster Choir College ofRider University Voice Building for Choirs Vocal Improvisation Workshop Princeton, New Jersey Westminster Choir College ofRider University Shield Inn Princeton, New Jersey West Dovel~ Vennont clinicians: Frank Abrahams Bill Endslow Ellen Lang Tom Parente clinician: Brenda Smith clinician: Bob Stoloff

Westminster Choir College • See p. 44 for address Westminster Choir College • Seep. 44 for address Phyllis Isaacson Shield Inn Route 100, P.O. Box 366 - AUGUST 5-8 AUGUST 5-10 West Dover, VT 05356 Choral Directors and General Music Music in the Mountains '96-A Choral 802/464-3984 T eachers Workshop Workshop and Showcase Alma College East Stroudsburg University Alma, Michigan East Stroudsburg, Pennsylvania AUGUST 15-17 Oregon ACDA Summer Choral Workshop clinicians: Melvin Larimer James Mulholland clinicians: David Angerman Don Besig University ofPortland Jonathan Reed Leonard Riccinto Pepper Choplin Mary Donnelly Portland, Oregon Patti Drennan Jill Gallina Roger Dehn Michael Gallina Greg Gilpin clinician: Geoffrey Boers Michigan School Vocal Music Association Benjamin Harlan David Lantz III P.O. Box 423 • South Haven, MI 49090 John Leavitt Joseph M. Martin Jim Angaran 616/637-2394 • 616/637-7795 (fax) Nancy Price George 1. O. Strid 3060 NW Garfield Avenue J. Paul Williams Corvallis, OR 97330 AUGUST 5-9 5411753-1145 Choral Conducting Workshop Krista Montgomery Cannon Beach, Oregon Shawnee Press, Inc. 49 Waring Drive AUGUST 16-17 . clinician: Rodney Eichenberger Delaware Water Gap, PA 18327 • Elementary/Junior High/Senior High 800/962-8584, ext. 249 • 717/476-5247 (fax) Audition Workshop Haystack Program in the Arts and Sciences • Elementary/Junior High/Senior High School of Extended Studies Choreography Workshop Portland State University' P.O. Box 1491 AUGUST 6-12 • Elementary/Middle School Choral Music Portland, OR 97207 • 800/547-8887, ext. 8500 Master Schola Reading Workshop Community ofJeSlls • Junior High/Senior High Choral Music Judson College, a four-year, evangelical Orleans, Massachusetts Reading Workshop Christian, liberal-arts college, seeks a Keyboard Oakland University Specialist (pian%rgan) to teach theory and clinicians: Mary Berry John Butt Rochestel~ Michigan computer-assisted composition and to direct vocal Stephen Cleobury Margaret Hillis groups. Tenure-track position. Experience required, clinicians: Danielle Blanchard John Dovaras doctorate preferred. Qualifications for eventual department chairmanship are highly desirable. Barbara Cole Lowell Everson Audrey Grier Women and minorities strongly encouraged to apply. Master Schola Gene Grier Harvey Kahl Send inquiries and vita to Dr. David Dickerson, P.O. Box 2831 • Orleans, MA 02653 VPAA, Judson College, 1151 North State Street, Music Unlimited • Seep. 43 for address Elgin, IL 60123-1498. 508/255-3999 • 508/240-1989 (fax) Application Deadline: May 1, 1996

PAGE 50 CHORAL JOURNAL AUGUST 1B-21 Outlying JULY6-AUGUST IB New York State Snrnmer Music Conference AIMS Chorale at AIMS in Graz Genesee Plaza Holiday 17m Graz, Austria Rochestel~ New York United States clinicians: Cornelius Eberhardt Jing Ling Tam clinicians: Janet Galvan Mac Huff Henry Leek and Abroad George Eison Bruce Purrington • 61 Prince Lane American Institute of Musical Studies (AlMS) Westbury, NY 11590 • 516/997-8919 6621 Snider Plaza JUNE 16-23 Dallas, TX 75205 - - ~ - ~~- Uniban Choral Fest 214/363-2683 • 214/363-6474 (fax) c AUGUST 21-24 . Siio Paulo, Brazil 1996 National Association of Pastoral Musicians Region I Convention clinicians: Clayton Miller JULYB-13 Sheraton Hotel Marcia Patton John Silantien Carlyle Weiss Tuscany International Children's Stamford, Connecticut Lynn Whitten Others Chorus Festival Tuscany, Ital:y Various clinicians Ana Claudio Girotto R. Dr. Arnaldo de Carvalho 555 ap. 132 clinician: Doreen Rao Barbara Girolami • Seep. 43 for address Campinas, S.P. 13.070-090 Brazil 011/55 11 825-7257 (phone/fax) Musica Mundi 111 Main Street, Suite 2 AUGUST 24 Los Altos, CA 94022 JUNE 27-30 Twenty-frfth Annual Church Choral 415/949-1991 • 415/949-1626 (fax) Workshop Skien International Choir Festival Tampa, Florida Telemark, Norway JULYB-17 clinicialls: Lloyd Larson Allen Pote clinician: Imants Kokars The English Choral Heritage Salisbmy Cathedral Bill Head • Seep. 49 fll' address Skien International Choir Festival Salisbmy, United Kingdom c/o Skien Tourist Office' Nedre Hjellegt. 18 N-3724 Skien • Norway Royal School of Church Music 0111473558-19-10 • 0111473552-26-61 (fax) Addington Palace Southern California ACDA Fall Choral Croydon CR9 5AD • United Kingdom Reading Session 011144 181 654--7676 • 011144 181 655-2542 (£ax) California State University, Fullerton JUNE 2B-.:JULY 5 Fullerton, California Shrewsbury International Music Festival Shrewsbmy, England JULY 9-14 clinicians: Richard Colla Dan Jackson Llangollen International Musical Eisteddfod Iris Lamanna Perla Warren ConcertWorId, Ltd .• P.O. Box 388 Llangollen, Wales Croton-on-Hudson, NY 10520 John Tebay • 19722 Parkview Terrace 800/451-9051 • 914/271-9025 (fax) clinicians: Roy Bohana Conan Castle Yorba Linda, CA 92686 • 714/970-9276 Thrassos Cavouras Simon Halsey Venno Laul Hristo Nedyallwv JULY 1-16 Havelock Nelson Mitsukazi Suwala SEPTEMBER 7 Corsi Internazionali di Musica Huw Tregelles Williams Northern California ACDA Fall Choral University of Urbino Reading Session Urbino, Ital:y Eisteddfod Office California State University, Haywm-d Llangollen, LL20 8NG, Clwyd Hayward, California clinicians: Monte Atkinson Maestra Christina Bucchi North Wales' United Kingdom 011144 1978-860236 • 011144 1978-861300 (£ax) clinicians: Richard Colla Dan Jackson Michael Baron' Mesa State College Iris Lamanna Perla Warren P.O. Box 2647' Grand Junction, CO 81502 970/248-1198 • 970/248-1159 (fax) JULY 15-20 Gary Lamprecht • 1870 Dons Av-e-n-u-e---~E-maiI: [email protected]:Oracro:ear-u---.T...... h.. ir.. d .. Ann...... u ....al.. W...... e... 1l ... s... C.. a.. th~e .. dr... al...... C.. h.. o.. r""al ...... "----- Los Osos, CA 93402 • 805/528-5866 Experience: Course A Wells Cathedral Director of Music Ministry JULY 5-14 Wells, England ine-hundred-member evangelical Presbyterian Masterclass in Choral Conducting on N Church (USA) in a university city seeks full­ time Director Music of Ministry to plan and direct German Choral Repertoire clinician: Sir Neville Marriner worship/music outreach; full vocal/instrumental Namttl~ Belgium program; assist drama and dance worship. Minimum Seward Weber B.A. in Mus., Mus. Ed., or Sac. Mus. Two year's clinician: Frieder Bernius Classics West Enrollments experience in vocal/instrumental conducting required. Send resume and description of Christian RD 2, Box 390 experience and beliefs to Robb Casseday, Chair International Center for Choral Music Plainfield, VT 05667 Search Team / First United Presbyterian Church Avenue Jean 1er, 2 • 5000 Namur • Belgium 802/454--7189 1321 NinthAvenue/Greeley, CO 80631 0111328173-57-96 • 0111328173-78-72 (fax)

MAY 1996 PAGE 51 JULY 15-AUGUST' 17 JULY 19-20 AUGUST' 5-17 Sienna Summer Session for Music Third Annual Wells Cathedral Choral Twenty-first Annual Classical Music Festival Sienna, Italy Experience: Course B Esterhdzy Palace Wells Cathedral Eisenstadt and Vienna, Austria Joseph Del Principe Wells, England U.S. Office Don V Moses Sessione Senese per ia Musica a l'Arte clinician: Sir Neville Marriner School of Music 595 Prospect Road University of Illinois Waterbury, CT 06706 Seward Weber • See p. 51 for address 1114 West Nevada Street 203/754-7541 • 203/753-8105 (fax) Urbana, IL 61801 217/244-6281 • 217/244-4585 (fax) JULY 29-AUGUST' 3 The Church Musician in a Changing World First International Mendelssohn-Bartholdy Carlisle Cathedral AUGUST' 7-14 Choir Competition Carlisle, United Kingdom Fourth World Symposium on Choral Music Dauphetal, Gem/any Sydney, Australia Royal School of Church Music • Seep. 51 for address Ralf EisenbeilS Fi:irderverein Interkultur e.V. P.O. Box 1255 JULY 29-AUGUST' 5 Janette Smart D-35412 PohIheim Seventh Annual North American Jewish Fourth World Symposium on Choral Music Germany Choral Festival P.O. Box 913 0111496403-61482 • 0111496403-68132 (fax) Jerusalem, Israel Double Bay, NSW 2028 Australia Matthew Lazar 011/612281-3651 • 011/612281-3650 (fax) JULY 18-31 Zamir Choral Foundation, Inc. International Choral Conducting Workshop 120 Riverside Drive, Suite 1Y Graz, Austria New York, NY 10024 AUGUST' 17-24 212/362-3335 • 212/362-4662 (fax) The Complete Music Director clinicians: Rodney Eichenberger Others Scargill HOllse Yorleshire Dales, United Kingdom Department Al Quarry Productions/International Workshops AUGUST' 5-12 Royal Sdlool of Church Music • Seep. 51 for address 187 Aqua View Drive Cathedral Singing Week Cedarburg, WI 53012 SalisbtllJ Cathedral 414/377-7062 • 414/377-7096 (fax) SalisbtllJ, United Kingdom -C]-

Royal School of Church Music • Seep. 51 for address

IN MEMORIAM

John H. Bloom March 27, 1908-Februruy 18, 1996

CHARTER MEMBER of the T anglewood. Bloom held several col­ sponsible for introducing the choral A American Choral Directors As­ lege positions in Iowa, Missouri, and music of Aaron Copland, Roy Har­ sociation, John H. Bloom passed away Ohio before going to the University of ris, and Howard Hanson to the west­ at his home in Tucson, Arizona, on Arizona in 1951 as Professor of Music ern United States. February 18, 1996. A native of St. Jo­ and Director of Choral Activities. A loyal devotee of ACDA, Bloom seph, Missouri, Bloom graduated His twenty-five-year tenure at Ari­ firmly believed in the mission of the from Cornell College in Iowa and zona saw the development of the organization. At meetings with sev­ from the University of Iowa. A pro­ Symphonic Choir and the Choraliers. eral colleagues in the late 1940s and fessional singer, he also served as an His ensembles made several conven­ 50s, he helped to lay the groundwork assistant to Robert Shaw at tion appearances and were largely re- for the association.

PAGE 52 CHORAL JOURNAL INDEX TO THE CHORAL IOURNAL VOLUME THIRTY-SIX by Scott W Dorsey

Editor's Note: The classification numbers "James Quitman Mulholland's Musical Romance 14. Choral Conducting and Choral Techniques: used below correspond to subject head­ with the Written Word," by Barton L. Tyner Organization and Administration ings in all ACDA monographs that use a Jr. 1/96:9. bibliographic format, particularly Tbe "Musica Practica," by Nina Gilbert. 10/95:49. "Cboral Jou1"l1al": An Index to Volumes "Franz Schubert's Mass in A~ Major: A 1-18 (Monograph No.3) by Gordon Consideration of the Composer's Revisions," 15. Choral Conducting and Paine, and Tbe "Cboral Journal": An by John J. Curtis. 2/96:9. Choral Techniques: Repertoire Selection Index to Volumes 19-32 (Monograph No.7) by Scott W. Dorsey. Subject "The Instruments Are by Their Rhimes: An "A Global Celebration of Life: Programming classifications with no entries for this Examination of the Text in Britten's Rejoice Multicultural and Ethnically Inspired Choral volume year have been omitted from the in the Lamb," by Mark Riddles. 2/96:17. Music According to the Cycle of Life," by listing. "REP.," "BIB.," and "DISC." are Ronald M. Kean. 4/96:45. REP. abbreviations for repettoire, bibliography, "Structure, Symbolism, and Thematic Trans­ and discography. formation in Edward Elgar's The Dream of "Quality and Expectation: Music Education for Gerontius," by Gerald Neufeld. 3/96:9. the Ensemble and the Audience," by Janice R. Bradshaw. 4/96:51. 7. Choral Conducting and Subject Index Choral Techniques: Rehearsal 16. Choral Conducting and Choral Techniques: Score Reading 1. Choral Composition, Arranging, "Mastering Melismas," by Chester L. Alwes. and Preparation Editing, and Publishing 8/95:37. "Beyond the Borders of Mezzo-land: Exploring "Choral Music That Matters: A Composer's "Am I Being Followed?: Finding the Elusive the Score's Dynamic Range," by Stephen M. Perspective," by David L. Brunner. 10/95:29. Connection between Conductor and Ensemble," Hopkins. 2/96:29. by Thomas Lloyd. 2/96:23. 2. Composers and Their Choral Music 19. Discographies "The Psychologist and the Conductor: Solving "Magic and Majesty: Spirited Choruses in Henty Rehearsal Problems Using Awareness of "Recordings of Jazz-Oriented Vocal Groups: Purcell's Semi-Operas," by Victoria Meredith. Personality Types," by Barbara Pollack and May 1993 to June 1995," by Dan Schwartz. 8/95:9. REP. Harriet Simons. 5/96:9. 11/95:38. DISC.

"The Victorian Revival of Purcell's Music: 8. Choral Conducting and "Latin American Choral Music Discography," Publications and Publishers," by Erik Reid Choral Techniques: Vocal Technique, by Suzanne Spicer Tiemstra. 11/95:57. DISC. Jones. 8/95:19. Vocal Production, and Tone "Shaw Recordings (1975-1996)," by Nick Jones. "Performing Dido and Aeneas with Adolescent "Singing Passaggi: Modern Application of a 4/96:23. DISC. Singers: Purcell's Original Commission," by Centuries-old Technique," by Joy Sherman Marie Stultz. 8/95:43. and Lawrence B. Brown. 8/95:27. 34. History of Choral Performance, Histories of Choral Organizations, and l------"-"Musie-to-Sing-and-P-lar-1=he-Ghor-al-Worl

MAY 1996 PAGE 53 Tour With Your Choir and perform. in the Great Cathedrals and Historic Churches. Canticum novum. The Girl Choristers, the Boy • Great Britain • Central &: Eastern Europe Choristers, and the Lay Vicars of Salisbury • Spain &: Portugal • Australia &: New Zealand. Cathedral; Richard Seal, conductor (Guild We've been coordinating successful concert tours for over GMCD 7101). James F. Hejduk, reviewer. 25 years. Travel with the professionals who exceed your 10/95:56. expectations for a trouble-free tour. We'll provide you with customized itineraries and very impressive references. Veni creator. Prague Philharmonic Choir; Pavel ~ Kuhn, conductor (Supraphon 11 1809-2 AMBASSADOR TRAVEL SERVICE 231). James F. Hejduk, reviewer. 11/95:60. 148 E. Michigan Avenue/ Kalamazoo, MI 49007 TEL: 800-247-7035 FAX: 616/349-7674 ======LI .){jrCl___ .£h~rtlllYhtEc .fi.0rrz§jJll}n-,---c,ofr:Ld,eLa RTV. Espanola, Escolania de Nuestra Senora del Buen Retiro, Orquesta sinf6nica de la RTV Espanola; Igor Markevitch, conductor (Philips 432 823-2). James F. Hejduk,

Adeste Fideles: Christmas Music from Westminster Cathedral. The Choir of Westminster Cathedral; James O'Donnell, conductor '. ..·.community. ' .. ' (Hyperion CDA 66669). Weyburn Wasson, c.hoirs. Topics . include voke.; ;', reviewer. 12/95:59. ~'" . building .. in . the choral.re->·.· •~. hearsal;. rehearsal. technique' Michael Praetorius: Mass for Christmas Morning. • ~ and problem solving; effec- Gabrieli Consort, Gabrieli Players, Boys' ~ tive repertoire research; Choir and Congregational Choir ofRoskilde L~OaJcroze Eurhythmics as a~, Cathedral; Paul McCreesh, conductor .~ rehearsal tool; elements of .~ (Archive Production 4439 250-2). Richard performa.n~e.pr~.ctice;.pr.~cti- ~; J. Bloesch, reviewer. 12/95:59. (ala~pr,~~~~~~l~:Jo~cho,ral '<' ..... ~••...• o'rnamentations dictior;':';eJ(~~(ive)program~ .~~, poggl~tura,port de voi~, Franz Joseph Haydn: The Creation. Atlanta Symphony Orchestra and Chamber Chorus; ~\~~~.·.'.',:.i.·.·~,m.:,:.•.".c .•. P.h .. h.·.o.'.~(pWe.:,r.c.f, ·.~.·.;.·.~.· •..m.·,· •...... m ~,·.· ... ~.· ... ·~.·.· ... ~.:....•. ' ....•. :.: ...•..... ;. ~> mor::,': .; tape d':\:i ;,i,~,; ~;. Symphony Chorus, Saint Louis Symphony ... \:~ ,:~:~. ::>;:~>~,,:~;:;~ Orchestra; Gunther Schuller, conductor (New World CDA 80262-2). Thomas E. Miller, reviewer. 3/96:43.

PAGE 58 CHORAL JOURNAL FranzJoseph Haydn: Lord Nelson Mass, Hob XXII, Alan Hovhaness: Magnificat. University of no. 11. Slovakia Philharmonic Orchestra and Louisville Choir; Louisville Orchestra, Robert Chorus; Paul Freeman, conductor (Pro Arte Whitney, conductor (Crystal CD 808). CDS 3461). Allen 1. Borton, reviewer. Vance D. Wolverton, reviewer. 5/96:67. 3/96:44. 74. Choral Activities in the U.S.A. Elliott Carter: Orchestra Songs and Complete and Abroad Choral Music. The Gregg Smith Singers, the Men of the Long Island Symphonic Choral "Report on CHORUS AMERICA's Eighteenth Annual The UNC Summer Choral Music Association, The Columbia University Men's Conference," by Peter Bagley. 10/95:43. workshop is pleased to have with us Dr. Donald Neuen, Distinguished Professor Glee Club; Gregg Smith, conductor (Com­ of Conducting and Director of Choral posers Recordings CD 648). FrankAlbinder, 75. Texts Activities at the University of California reviewer. 3/96:44. Los Angeles, and nationally known public school educator Ms. Joan "Carmina Burana: The Poetty of Wandering Gregoryk from Chevy Chase, Maryland. The Glory of Palestrina. Elmer Isler Singers; Scholars and Wayward Clerics," by R. We are excited to announce that the los Elmer Isler, conductor (CBC Records Gordon Goodrum. 9/95:9. Angeles Children's Chorale will perform and serve as a demonstration choir. Join MVCD 1067). Frank Albinder, reviewer. us for three days of lectures/demonstra­ 3/96:45. tions/rehearsals to include topics in choral music. Among the varied topics Author Index such as vocal production for all ages of Fern Hill: American Choral Music. Kansas City the choral singer; elementary children's Chorale; Charles BruffY, conductor (Nimbus Adams, Byron, 3/96:49 chorus techniques and the young voice, CD NI 5449). Weyburn Wasson, reviewer. Albinder, Frank, 3/96:44, 45 phrasing and style in choral music, technical expertise in conducting 4/96:63. Alwes, Chester 1.,8/95:37,9/95:35 gestures, choral rehearsal pedagogy, Anderson, Kathy, 11/95:42, 4/96:50 motivation, choral literature for public With Heart and Voice. The Trinity Choir, Atterbury, Betty W., 12/95:4 school choirs (elementary through secondary), preparation of choral/ Boston; Brian Jones, conductor (Gothic Austin, John, 9/95:15 orchestral works, and many other areas G 49081). Sharon Davis Gratto, reviewer. Bagley, Peter, 10/95:43 of interest for the complete choral 4/96:63. Baxter, Jeffrey, 4196:9 director. All participants will have the opportunity of rehearsing and performing Beery, Lon, 3/96:15 with the UNC Summer Choir in Franz New Cantatas and Madrigals. New Calliope Belan, William Wells, 4/96:29 Joseph Haydn's Creation, with full Singers, The New York Coronet and Sackbut Benham, John, 11/95:31 orchestra, directed by Dr. Neuen. The addition of a choral/orchestral perfor­ Ensemble; Peter Schubert, conductor (Com­ Blackstone, Jerry, 10/95:23 mance brings another exciting dimension posers Recordings CD638). Sharon Davis Bloesch, Richard J., 12/95:59,5/96:65 to the Choral Music Workshop. Gratto, reviewer. 4/96:64. Borton, Allen R., 3/96:44 Bradley, Lynne, 11/95:25 Holy Radiant Light: The Sacred Songs ofRussia. Bradshaw, Janice R., 4/96:51 Gloria: Dei Cantores; Elizabeth C. Patterson, Braun, William, 9/95:21 conductor (Gloria: Dei Recording CD CD- Brown, Donald c., 9/95:69 007). Sharon Davis Gratto, reviewer. Brown, Lawrence R., 8/95:27 4/96:64. Brown, Steven F., 11/95:63 Brunner, David 1., 10/95:29 Wolfgang Amadeus Mozart [Choral Works I}. Campbell, John W., 9/95:67 Arnold Schoenberg Choir, Concentus musicus Carter, Jeffrey, 9/95:67, 12/95:64 Wien; Nikolaus Harnoncourt, conductor Chapman, Charles W., 5/96:27 (Teldec 4509-98928-2). Richard J. Bloesch, Collins, Walter, 4/96:55 5/96:65. Consortium of National Arts Education Associ- ations, 11/95: 17, Wolfgang Amadeus Mozart [Choral Works II}. Curtis, John J., 2/96:9 Arnold Schoenberg Choir, Concentus musicus de Catanzaro, Christine D., 10/95:45, 12/95:55, Wien; Nikolaus Harnoncourt, conductor 3196:41, 5/96:61 (Teldec 4509-96147-2). Richard J. Bloesch, Decker, Harold, 12/95:43 reviewer. 5/96:65. Diekhoff, Bill, 9/95:51 Donaldson, Marion F., 8/95:52, 10/95:41,2/96:39 Alan Hovhaness: Magnificat. The Choirs and Dorsey, Scott W., 12/95:39,2/96:43,5/96:31,53 Orchestra of St. John's Cathedral, Denver; Edwards, Malcolm V., 4/96:67, 68 Donald Pearson, conductor (Delos DE3176). Gilbert, Nina, 10/95:49, 11/95:9,5/96:63 Vance D. Wolverton, reviewer. 5/96:67. Goodrum, R. Gordon, 9/95:9

MAY 1996 PAGE 59 Gordon, Lewis W., 10/95:62 Knapp, Joel, 12/95:63 Schenbeck, Lyn, 8/95:64 Gratto, Sharon Davis, 9/95:63, 64, 4/96:63, 64 Koebler, Andrew, 1/96:4 Schwartz, Dan, 11/95:38 Greennagel, David J., 11/95:64,5/96:69 Lloyd, Thomas, 2/96:23 Sharp, Timorhy W., 8/95:57, 9/95:55, 11/95:52, Guelker-Cone, Leslie, 10/95:39,2/96:32 Lundergan, Edward, 3/96:52 2/96:35 Hansell, Sven, 8/95:61, 68 Mabry, Gary L., 12/95:35 Shaw, Ronnie G., 9/95:52 Harris, Jerry Weseley, 2/96:41 MacPherson, Scott, 4/96:35 Sherman, Joy, 8/95:27 Hatfield, Stephen, 12/95:23 Mann, Alfred, 4/96:21 Simons, Harriet, 5/96:9 Hejdul(, Jarnes F., 9/95:61, 10/95:53, 54, 55, 56, Mason, Vito E., 5/96:4 Spurgeon, Debra, 10/95:33 11195:60, 61, 65, 2/96:46 Mattson, Phil, 2/96:33 Starn, Carl, 3/96:37 Henderson, Mark A., 2/96:41 McClung, Alan c., 5/96:17 Stauch, Thomas J., 10/95:38,3/96:38 Henry, Stephanie, 12/95:5 __ McCoy, Jerry, 5/96:30 Sruhr-Rommereim, John, 19125:9 Hollander, Jeffrey, 2/96:45, 50, 3/96:51 Mello, Deborah A., 4/96:49 Stultz, Marie, 8/95:43 Hook, Martin, 11/95:27 Meredith, Victoria, 8/95:9 Taylor, Robert, 10/95:17 Hopkins, Stephen M., 2/96:29, 4/96:65 Miller, Thomas E., 3/96:43 Tiemstra, Suzanne Spicer, 11/95:57 Hurry, Jon, 3/96:29 Nelson, Rex, 11/95:42 Town, Stephen, 8/95:67, 12/95:65, 2/96:47" -Jacobson, Joshua, 12/95:9,2/96:5-----Neuen,Bonald:-4/96:-4------4/96:65,66 ------Janzen, Wes, 12/95:60 Neufeld, Gerald, 3/96:9 Tyner, Barton L., Jr., 1196:9 Jones, Ann Howard, 4/96:19 Niemann, LindaJ., 8/95:5 Wasson, Weyburn, 8/95:62, 12/95:59,4/96:63 Jones, Erik Reid, 8/95:19 Parker, Alice, 4/96:15 Wine, Thomas R., 3/96:21 Jones, Nick, 4/96:23 Peaslee, Sandi K., 9/95:41 Wochinger, Robert, 2/96:4 Kean, Ronald, 3/96:37, 4/96:45 Pollack, Barbara, 5/96:9 Wolverton, Vance D., 10/95:57,5/96:67 Kennedy, Margaret A., 3/96:50 Pysh, Gregory M., 12/95:37 Kesselman, Lee R., 12/95:39 Riddles, Mark, 2/96: 17 -C]- Kirk, Colleen J., 9/95:47 Schaap, David P., 8/95:5

[SSlhNUAl (DORM RlhSOURClhS

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A 3502 Chorister's Edition $2.50; Handbook qualifications. Please send your Q'Choral vocallses 25 or more, $2.00 resume to: 1w WILLlA.,i FEIUUS Mr. George Peterson, Chairman To order, (0111 800 566-61 SO, Music Minister Search Committee or FAX 841 611-5115 Garden City Community Church Stewart Ave. & Whitehall Blvd. Garden City, NY 11530 World Library Publications, a division of J. S. Paluch (0., Inc. 516/746-5221 or 516/746-1700 3825 N. Willow Rd. • Schiller Park, It 60176 See and hear ~he resuhs in your choir!

PAGE 60 CHORAL JOURNAL RESEARCH REPORT Christine D. de Catanzaro, editor

Women in Music II: Questions about the archive also may be Company, 1996), promises to bring to Locating Choral Repertoire directed to Leslie Guelker-Cone, Depart­ light a wealth of choral music of excep­ N THE March 1996 issue of the ment of Music, Western Washington Uni­ tional quality. The first two volumes cover Choral Jou17lal, this column was de­ versity, Bellingham, Washington 98225 the Middle Ages and Renaissance. Volume I voted to the review of several new (e-mail: [email protected]). I includes choral music by composers such reference works on the subject of women as Kassia, Hildegard of Bingen, Maddalena in music. These general references pro­ Repertoire by Casulana, Sulpetia Cesis, Vizzana and vide the starting point for research on Women Composers Francesca Caccini, as well as choral selec­ this large and growing field. For choral Hildegard Publishing Company, tions by sev:eral other lesser-known com­ directors seeking quality repertoire for ClarNan Editions, and earthsongs have posers. Volume II contains choral music women's voices or by women composers, become velY well known to those inter­ by seven women, among them Barbara several useful books, articles, and on-line ested in music by women. A search of the Strozzi and Isabella Leonarda. All the mu- sources have appeared in the last few catalogues of these and other companies sic is annotated and appears in modern years. This article considers a selection of that specialize in this area can lead imme­ notation. Informative articles precede each these sources. 1 diately to some excellent publications of entry. Many individual works from this Western art music by women composers. anthology also will be published separately Repertoire for Regularly consulting the Choral Reviews by the Hildegard Publishing Company Women's Choruses section of the Choral Journal is another starting in 1996. The best source for general literature effective way of finding good choral mu- related to women's choirs is a series of sic by women. The March 1996 column On-Line Resources articles by James Laster and Nancy Menk. 2 was devoted to recently published octa- Several computer resources can assist A select list of bibliographies of music for vos of music by women. Bibliographies conductors searching for choral repertoire women's voices is provided in Figure 1. of choral literature by women are another for or by women.4 Choralist, the Internet For further assistance the on-line resources valuable tool for finding new repertoire. e-mail discussion list for choral musicians, mentioned below provide access to lists A selection of recently printed bibliogra- offers an informal way of sharing infor- of published literature. phies is listed in Figure 2.3 mation on choral literature. A subscrip- Two initiatives have recently been One of those sources deserves special tion may be obtained by sending an e-mail launched to facilitate the search for reper- mention. Barbara Garvey Jackson's Say message to [email protected]. In toire. The first is called the ACDA Can You Deny Me is an excellent refer- the body of the message, type "subscribe Women's Chorus Repertoire Exchange. ence book on published and unpublished choralist ." The ChoralNet Twice a year, each member of the Ex- literature by women composed before Resource Site, available via gopher, ftp, change contributes a list of at least five approximately 1830. Jackson's guide pro- or the World Wide Web, includes a file titles (including all the particulars of pub- vides a thorough list of manuscript and titled "women.cmp" that contains infor­ lication, price, level of difficulty, and ap- printed sources for all extant works by mation on choral music by women. propriate use) and a small fee to cover every known woman composer of the CHOREF, an on-line database of more postage. The coordinator of the Exchange Renaissance, Baroque, and Classical pe- than five thousand choral compositions, collates and sends the repertoire list to all riods. Some composers of the early Ro- also is available through the World Wide participants. Individuals wishing to be- mantic period also are included. The list Web. Both the ChoralNet Resource Site come members of the Exchange may con- is arranged alphabetically by composer. and CHOREF can be accessed through -----1"tact-Rieardo-Soto,8epanment-of-Mus.ie-,-1Jndel~eaeh-en-t;F-y,det;ai-l-s-0n-t;he-s0mG@s-t-h@--Ch0r-a1-N@t-h0m@--pag@--~ht-t-p.:-I-t--­ University of California-Irvine 92717 (e- for each work are given. The author in- www.sdsmt.edu/choralnet/). ChoralNet mail: [email protected]). The second initia- cludes information on the holdings of and its associated components are main- tive, the National Archive of Music for more than four hundred libraries around tained and operated by James D. Feiszli, Women's Choirs, is a new repository of the world. An index by performance me- Chair of the Department of Humanities published and unpublished choral music dium is particularly helpful for locating at the South Dakota School of Mines for women's voices. Contributors may choral repertoire. and Technology, and David B. Topping, send single copies of treble literature (ten A recent anthology, Women Composers: a D.M.A. candidate at Arizona State Uni- to twenty-five titles) to Monica]. Hubbard; Music through the Ages, edited by Sylvia versity. ChoralNet is supported by the California Institute ofTechnology, MSC Glickman and Martha Furman Schleifer computer services of the South Dalwta 2-58; Pasadena, California 91125 (e- (New York: G. K. Hall Reference, an School of Mines and Technology and the mail:[email protected]). imprint of the Macmillan Publishing University of Colorado at Boulder.

MAY 1996 PAGE 61 Apfelstadt, Hilary J. Canadian Music for Womens Voices. Dublin, OH: Spectrum Music Publishers, 1989. Apfelstadt, Hilruy J. "Music of Canadian Composers for Women's Choruses." Choral The most recent development in on- joumal31 Oanuary 1990): 23-29. line resources comes from MUSICA In- Breden, Sharon Ann. "Committee Report on Women's Choruses: Patt I: Unison and SA." ternational, the choral music database of Choraljoumal24 (May 1983): 37. the International Federation for Choral Breden, Sharon Ann. "Committee Repott on Women's Choruses, Patt II: Women's Chorus h Music. Searc es in MUSICA may now Literature." Choraljoumal27 (May 1986): 23. be conducted in English. MUSICA is ac- Brown, Teddye "An Annotated Bibliography of Treble Chorus Music on Grade V bi h h h J. cessi e t roug t e Internet by connect- University Interscholastic League of Texas Prescribed Music List (1990-1994)." M.A. h ing to t e French Minitel videotext thesis, Texas Women's University, 1993. . system. Information on how to obtain an DeVenney, David P. Nineteenth-Century American Chol'al Music: An Annotated Guide. c account ror entering the Minitel system Elt:rkt;ley,Q1..: .. F~t;g1t;gfpre§s, J987·(A list qfcOmflosiJ:i()l1sJ(gwq.m~[l'.soX()i~~~j§,"o.through Internet is available on the~World found on pp. 131-33.) . Wide Web (http://miniteLfr). MUSICA Guelker-Cone, Leslie. "Music for Women's Voices by Contemporary Women Composers indexes 65,000 titles on-line, which can of the United States and Canada." Choraljoumal32 (May 1992): 31-40. b h d £ . f fi Id . . ". ,"" .. e searc e rom a vanety 0 Ie s, In- Hubbard, Moruca J. Literature for the Women s Chorus: An Unannotated List. (A list of I d' ·tl I d ...... ' ". .' c U Illg composer, tl e, anguage, an ...... repertorre'presented-m-a-handout-at-the-meetmg~of-the-AGBA-:-Western-Bivision-R&S-·-- -f' --h. -- fu h' . . . ,. '. ." .' .' type 0 c O1r. For rt er IllformatlOn, COmmIttee on Womens ChOirs on March 16, 1996. To receive a copy, contact the S C d'A' ' 6 contact Jean turm, entre rt au thor at thea ddr essglvenonp. 1) I h' d'Al . " '.' " "" Po yp omque sace-Musica Interna- Karna, Duane. Second InternatIOnal Chatnber Choir Competition-Women s Choirs. . al ( @' b . . . .' .,. " .' .' tlon e-mru'1 : sturm Janus.u-stras g. £)r . Choml journal. 33 (August 1992):.47.'. (This atticle'. contains...... a .list .... of the..' repertoire '.' . C omputer I'lteracy h as b ecome a ne- performed at the competition in Marktoberdorf, Germany, May 1991.) . C all hal' . h' h " . . "..' '., ceSSIty ror c or mUSICIans w 0 WIS McCray, Jatnes. A Survey of Published Magnificats for Treble Voices. Chomljoumal .. h' h th I d I . . .' . .' to remrun III touc WIt e atest eve- 28 (M arc h 1988): 5-11. . th fi Id h . opments III e Ie . T e computer wIll Roma, Cathy. "The Fifth National Women's Choral Festival." Hot: 'W'il'e 6 (May 1990): undoubtedly prove to be the most valu- 44-45. (Article includes a short report on choirs,directors, and music performed atthe able resource in the search for good Iitera­ March 1987 appearance of choirs in the Sister~ingers~etwork) .. _ ture for or by women, just as it has become Schenbeck, Rosalyn. "A Bibliography of World Music for Treble Choirs." American a powerful tool for research in all areas of Choral Foundation Reseal'ch Memol'andum Series. 168 Oanuary 1996). choral music.

Figure 1. Recent bibliographies of music for women's voices NOTES 1 The author is grateful to the following people who assisted in the preparation of this Allen, Sue Fay and Kathleen Keenan-Talmgi."Sing the Songs of Women Composers;" report: Hilary J. Apfelstadt, James D. Music Educatorsjoumal78 (March 1992): 48-51. (Article includes an annotated list Feiszli, Sylvia Glickman, Leslie GUeiker­ of music by women for school choirs.) Cone, MonicaJ. Hubbard, Ricardo Soto, Epstein, Selma. A Guide for Reseal'ching Music by Women Composers. Dickeyville, MD: Jean Sturm, and David B. Topping. Chromattica USA, 1990. (Book contains listings of organizations and institutions 2 See James Laster and Nancy Menk, that support women, composers as' well as a .selective bibliography of sources on "Literature on the Women's Chorus," women and music.) , Parts I-III. American Choral Foundation Guell

Figure 2. Recent bibliographies of music by women composers

PAGE 62 CHORAL JOURNAL MUSICA PRACTICA Nina Gilbert, editor

Musica Practica discusses practical What are the limits to the metaphor of ment.... With a micro, they're not questions and decisions that fill the lives figure skating as a model for choral musi­ drinking a brand at all, but an idea."1 of choral musicians, and considers the cians? Where does the parallel diverge? Where are the micro breweries of cho­ philosophical contexts such actions ral music? Certainly there are mainstream imply. Please share your ideas by sending Microbreweries and producers of choral literature, and they them to Nina Gilbert, 7717 Random Choral Music thrive on their understanding of the Run Lane, #T-2, Falls Church, Virginia Beers from small private breweries tastes and preferences of large pools of 22042 (phone/fax 703/698-7690; e-mail outside the commercial mainstream of consumers. Perhaps the microbrewery [email protected]). national and international brands have metaphor applies to small start-up pub­ two areas of appeal: taste and concept. lishers of multicultural music and lesser­ T ARE some metaphori­ Microbreweries can explore strong, un­ known composers. Choirs share their cal models for choral con­ usual flavors, while national brands need discoveries of rare repertoire through ~ducting? What can we learn to conform to uniform sweet tastes. word of mouth-literally, for example, from such models, and what are their lim­ Microbreweries produce small quanti­ through singing for audiences that in­ its? Musica Practica is adapting the concept ties of their product and do not adver­ clude members and directors of other of a model from the fields of philosophy tise widely. Their beers are sometimes choirs. Some microbrewed music, like and mathematics. For our purposes a known as "discovery beers." microbrewed beer, appeals more on con­ model is a situation that has enough in Conceptually, they appeal to consum­ cept than quality. common with our area of interest that we ers' pride in nonconformity. President A weakness in the microbrewety analogy can learn from the parallels. We can an­ Mike Foley of Heineken USA suggests, is in the narrow characterization of main­ swer questions about choral music by "People are looking for something very stream producers. Much of our best mu­ asking those questions of our models. different as part of a behavioral state- sic-enduring, important, great, beautiful Figure Skating and Choral Music Judges evaluate figure skaters on their 1996 INT&~St!ATIONAL performance of clearly defined moves ac­ cording to formal criteria. Skaters shape CHORA~F their lives around the realization of per­ fection according to pre-determined for­ mulas.What most ravishes an audience, including the judges, however, is a pro­ gram where a skater develops a new move that extends the traditional vocabulaty or discovers a new way of accomplishing a traditional goal. What are the compulsoty figures of cho­ ral music? Perhaps they are the classics of repertoire at various levels, or perhaps they are basic styles and techniques expected of for line, flow, and extension, a choir works for tone, phrasing, balance, and other fea­ tures. What mal{es a choir and a director world class, however, may not be the satis­ factoty performance of the metaphorical jumps, spins, and lifts on their checklist. The great conductors are those who find new paths: new solutions in such technical areas as diction or balance, new connections to historical traditions, or new areas of rep­ ertoire previously considered inaccessible. "Birds Of A Feather" Singing Together - Four Continents-Nine Countries

MAY 1996 PAGE 63 works in valuable editions-comes from Paint by Number and read someone's handwriting that has man­ big, mainstream publishers. And people Choral Music nered formations of letters-gs that look who want to complain of aesthetically im­ Perhaps a choral score is like a paint-by­ like qs, for example--or reading a memo poverished pieces can find them in the number project to be painted by a group typed without capital letters. Every time catalogs of publishers of all sizes. of people. Some people (the sopranos, per­ readers encounter something exceptional, haps) share all the blue paints, some all the they have to take extra mental steps to mal(e reds, some all the yellows, and some all the the translation. Singers and especially play­ Summer Study at greens. Participants can look at the marked ers may feel that their minds are being . Eastern KentuckY UniversitY: canvas map and lmow where to fill in their wrenched for the sake of the conductor's colors. The conductor's responsibility is to vanity. Linguists use the term "code switch­ Workshops ., Choral-Music-iJune 17'21'"1-2-hrsccredit' - lead this group to create"a . product that ing" to' describepeo ple's"toleranceofvaria" Madrigal Dinner - July 8-12 1 h" credit Dr. David Greenlee, Instructor looks like a seamless, integral, organic, sty­ tions in speech-for example, from Instrumental Music-June 24-28 1 hr. credit listic work of art. Each singer/painter, by children's to adults' voices or quiet to noisy Dr. Karin Sehmann, Instructor looking at the conductor's gestures and backgrounds. For the language of conduct­ Other 4 week and 8 wee], sessions offered in Music listening to the conductor's words, needs ing, a switch of hands is beyond the limit _Education,_Music-Liter.atureJ_and_Fel~fol~mance to lmow how, as well as where, to apply his of th~code. - Graduate Degrees Offered-Master of Music in Per­ formance, Choral Conducting, Instrumental Con~ or her paint. Following 1 passages conducted left­ ducting, General Music and Theory/Composition To extend this model to an orchestra, handed-while reading music and glanc­ Graduate Assistantships available in all areas for Fall 1996. the players/painters might have different ing quickly at the conductor-can be like methods of applying their colors: some glancing at a mirror-image clock face to Graduate Tuition starts at $115 per credit hour (no additional worlcshop fees) have brushes, some rollers, some wood­ get a sense of what time it is. While it is Contact: Dr. I{arin Sehmann blocks, some flutes. For that matter, if possible to stop and figure out how many Graduate Coordinator Eastern Kentucky University choir members do not read music, they minutes it is past what hour, it is nearly Richmond, KY 40475 could be equivalent to members of the impossible to get a sense of the time in­ [6061622-1335 painting group who cannot see. stantaneously from the positions of the The strength of the paint-by-number hands on the conductor or on the clock. model is that it offers a description of the If a conductor has an extenuating handi­ Presenting the Music of process of conducting and rehearsing that cap-such as the lack of a right arm­ can be understood by people outside mu­ then it becomes reasonable to conduct sic. Its wealmess is the medium: one does left-handed, and musicians will understand ALLEN KOEPKE not expect transcendent artistic results and cope. Similarly, readers can adjust to Inspirational Music for School or Church from a paint-by-number project. memos from someone whose typewriter bione of America's most talented ComposerlPoets or computer has a broken shift-key. Sinistral Conductors Are there historical models or contexts '.A Vision, A Dream ...... '. SBMP .111 . sATB for left-handed conducting? In early or­ Commissioned in 1995 by the Cedar RapidS Community A practical purpose ofmetaphorical mod­ SChool District in celebration ofllie IciwllSeSqulcentemiial; els is to assist in resolving questions. Musica chestral traditions, instrumentalists would Plano.or brass/percussion accompaniment . Practica offers a question here that may be have been led by someone playing a key­ seeds ofHope '.' ...... SBMP'1M SAl'B partially solved through analogies: Why board or a violin. Choral conducting tra­ Perfect for HS Graduatiori, or any program Involyirig young people and !/leir parents. . .' . . are there so few left-handed conductors? ditions include chironomy and tactus, It is possible, after all, to conduct with techniques that can suit eiciler hand with­ Dance oriMy J:le~rt .' .. . Winning composUlon, 1991 Iowa Choral Dlrec(ors' any, or no, hand. No-hands conducting is out confusion. The coded elements of ASsOciation ComWsltion Conlest. The charming text and a valuable exercise for conducting students. modern choral technique seem to come fusion of madrtgaiandCQntemporary slylesgive this piece aspecia,l appeal;.· . . . . . It is possible, especially when a conductor from the orchestral tradition, including the works with one choir all the time, to train roles of both hands. AndNalure Smiled "...... '. .'. Santa Barb!jra. Musicl'ublishlng'~Besl Selling Octavo. a choir to respond to left-handed or other Written .in the modem folkSlyle; Inspirational text is sure to non-standard conducting. Please Write! delight. Piano lendsdramatlc support to the vocal parts> With an orchestra-where the musicians What are some other metaphorical mod­ Speak 10 the Child of Lo~e .•.... SBMP96' .•.• SSA are already trained to "read" conductors' ges­ els for choral music? What questions might Tiletexl dealS .with questions that all children ask arone time or anothEir. • What is love, hope, trust and peace?" tures and may have little time to learn to read such models help solve? Are there models, Using' the allegory of the sun, moon,stars and.raln,th.e those of a visitor-a left-handed conductor for example, that clarify the philosophical questions are answered, perhaps for'a,l1 of us; .. risks antagonizing the orchestra. Someone differences among church, community, and . Write t

rAGE 64 CHORAL JOURNAL COMPACT DISC REVIEWS Richard J. Bloesch, editor

Wolfgang Amadeus Mozart and recording music from later peri­ altematim fashion, the even-numbered Grabmusik, K. 42 (35a); Kyrie, K. 33; ods. Nikolaus Harnoncourt, John Eliot verses being sung in plainchant. Most of Veni sancte sph'itus, K. 47; Scande coeli Gardiner, and Roger Norrington have the church works on these discs fit into the limina, K. 34; Hosanna, K. 223 (166e); explored the Classical and Romantic category of music for the Ordinary or Kyrie, K. 322 (2%a); Kyrie, K. 323 repertoire with some success. Harnoncourt Proper of the Mass or for one of the of­ (Anh. 15); Regina coeli, K. 127; has recorded the complete Beethoven fices. The Gmbmusik, however, is an ex­ Miserere, K. 85 (73s); Quaerite primum and Schubert symphonies, several Mozart ample of a sepolcro, a devotion performed regmmz dei, K. 86 (73v); Kyrie, K. 90; operas, and such choral works as during Holy Week before a representation Tantum ergo, K. 142 (Anh. 186d); Ave Mendelssohn's Die erste Walpurgisnacht. of the Holy Sepulchre. Mozart was only verum cO/pus, K. 618 Gardiner has ventured as far afield as the eleven when he wrote this piece for Holy Barbara Bonney, Sylvia McNair, Char­ Verdi Requiem, and Norrington has pre­ Week 1767 in Salzburg. The work is in the lotte Margiono, sopranos; Elisabeth von sented his version of Wagner overtures. form of a dialogue between a Soul (bass) Magnus, contralto; Christoph Pregardien, In the case of Harnoncourt in particular, and an Angel (soprano). The coloratura tenor; Thomas Hampson, bass I find his elegant yet fiery performance Arnold Schoenberg Choir; Concentus of Beethoven's Missa So/enuzis to be more musicus Wien; Nikolaus Harnoncourt, convincing than any of his recorded per­ conductor formances of the choral works of Bach. Recorded: December 1990, December On these two CDs Harnoncourt in­ 1991, February 1992; Issued: 1995 terprets Mozart's choral style in a gener­ Teldec 4509-98928-2; [DDD]; 74:50 ous sampling of the composer's short Distributed by Atlantic Classics church works. He has had the advantage of the recent completion of the Neue Wolfgang Amadeus Mozart Mozart Ausgabe, in which several works Venite populi, K. 260 (248A); Regina coeli, previously considered to be spurious have K. 108 (74d); Sancta Maria, mater Dei, been certified as authentic-for example, K. 273; Sub tuum pmesidium, K. 198 the two settings of Tantum ergo. (158b); Tantum ergo, K. 197 (Anh. 186e); Of greatest interest are those works Litaniae Lauretanae B.M. v., K. 109 that have not been readily available on (74e); Benedictus sit Deus, K. 117 (66a); sound recordings: At his death Mozart Inter natos mulienmz, K. 72 (74f); Alma left a number of complete and fragmen­ Dei creatoris, K. 277 (272a); Ergo interest, tary individual mass movements. Of these an quis-Q;taere szpema, K. 143 (73a); Harnoncourt gives us four Kyrie settings SOURCE Te Dcum faudamus, K. 141 (66b) and one Hosanna. The earliest Kyrie Barbara Bonney, Charlotte Margiono, Eva (K. 33) was composed when Mozart was READINGS Mei, sopranos; Elisabeth von Magnus, ten years old. The Kyrie (K. 90) and the alto; Kurt Azesberger, Christoph Hosanna (K. 223) are contrapuntal stud­ IN Pregardien, Uwe Heilmann, Deion van ies dating from 1772. He worked on the AMERICAN der Walt, tenors; Gilles Cachemaille, bass Kyrie fragment (K. 323) sometime be­ Arnold Schoenberg Choir; Concentus tween 1787 and 1789. This and another CHORAL musicus Wien; Nikolaus Harnoncourt, Kyrie fragment (K. 322) composed ap- MUSIC Recorded: December 1990, December Abbe Maximilian Stadler, presumably at Composers' Writings, 1991, February 1992, December 1992; the request of Mozart's wife, Constanze. Interviews & Reviews Issued: 1994 These two Kyrie settings are recorded here, Compiled & Annotated by Teldec 4509-96147-2; [DDD]; 76:49 as far as I have been able to determine, for DAVID P. DEVENNEY Distributed by Atlantic Classics the first time. Among other lesser-known church EVERAL CONDUCTORS works of Mozart, the Miserere, K. 85 (for known primarily for their advocacy alto, tenor, bass, and organ), written for Sof authentic performance prac­ Giovanni Battista Martini, is a setting of tices in Baroque music have lately been only the odd-numbered verses of Psalm widening their horizons by performing 51. It is performed here correctly in

MAY 1996 PAGE 65 writing for both voices and the colorful The Arnold Schoenberg Choir is a orchestral tone painting are astonishing in fine ensemble and has worked closely such an early work. The final homophonic with Harnoncourt on many occasions. chorus was added later (around 1775). His preferred way of performing Mozart has been thoroughly communicated to the choir, and they follow every nuance of his conducting. The instrumental en­ "He deserves the emulation of choir directors in this country" The New York Times semble is likewise attuned to the 'They have mastered their art to an uncanny degree" The Washington Post "His singers rival many professional choirs" De Tijd, AMSTERDAM conductor's particular way with this mu­ 'Their execution is conquering" Kurler, VIENNA sic. I find, however, that Harnoncourt's Mozartis too much like his Bach.Jn~my High School GROWTH OPPORTUNITY! view Harnoncourt's approach is too id­ iosyncratic for repeated listening. One Don Haines Guidotti might applaud his intentions without Builder of Choirs approving the extreme way in which he rhern.-Srrong-syllabten:re-often'--­ Chant, Polyphony, "New Music" accented in an obvious and "point-mak- Vocal Technique & Musicianship ing" fashion, and final syllables are so supressed that they become inaudible. formerly - J. Madison HS, Vienna VA; St. Peter's Church, DC Natural musical phrases are split into a Ithaca College; SUNYA; Manhattan School of Music series of motives. So one hears motives for availability, profile & pedagogy - Workshops, Festivals, Adjudication rather than themes, phrases rather than write: DHG 4436 Altura ct. Fairfax, VA 22030 sentences, sentences rather than para­ graphs. In sum I object not so much to Harnoncourt's general philosophy of music-making as I do to his literalness in which performance practice becomes mannerIsm. These eccentricities do not extend to the contribution of the soloists, who, without exception, are fortunate choices for this repertoire. The soloists sing natu­ rally and unaffectedly, in great contrast to the choral sound. The solo numbers on these recordings, therefore, are the most successful. Thomas Hampson is splendidly convincing in the Grabmusik arias. The women also excel, especially in two works without chorus. Barbara Bonney's account of the solo motet Ergo interest is exemplary. She is joined in the Offertory Sub tuum praesidium (for two For the serious school music program, a four day sopranos, orchestra, and organ) by the performing arts event of the highest standard. impressive Viennese soprano Elisabeth Invitation by Audition Only von Magnus. I would not want to be without re­ -Multiple performances at world-class venues corded examples of this endlessly fasci­ -Workshops and seminars with international conductors such as: nating repertoire, though these CDs Dale Warland, Gregg Smith, Joseph Flummerfelt and Ronald Smart present a mixed bag. The soloists are -Scholarship auditions for Juilliard and Westminster Choir consistently excellent, but I am alter­ ·PeIi'ormances by the Westminster Choir nately captivated and exasperated by -New York City sight seeing tours ·Broadway shows ·Awards banquet the unpredictable Harnoncourt. Call 800-568-0681 today for more information/application Richard J Bloesch, CD Reviews Editor University ofIowa In conjunction with World Projects International Musical Productions Iowa City, Iowa

PAGE 66 CHORAL JOURNAL Alan Hovhaness Records ca. 1976; digitally processed and Donald Pearson's (Denver) rendering of Magnificat, op. 157; Psalm 23 (Cantata re-released in 1995. "Suscepit Israel," however, for four-part from Symphony No. 12, op. 188); A Crystal Records CD808; [ADD]; 53:57 treble ensemble, is stunningly beautiful Rose Tree Blossoms, op. 246, no. 4; Jesus, and is itself worth the price of the CD. Lover of My Soul op. 53b; Jesus Christ LTHOUGH I always find listen­ Alan Hovhaness's Magnificat is a beau­ Is Risen Today, op. 100, no. 3b; The ing to several different recorded tiful, accessible, and timeless work of art, Lord's Prayer, op. 35; Peace Be Multi­ A versions of a given work interest­ whose appearance in CD format is long plied, op. 259, no. 1; 0 For a Shout of ing and instructive, I found comparing overdue. Although I am confident that Sacred Joy, op. 161; Out of the Depths, the Denver and Louisville recordings of listeners will find much to commend in op. 142, no. 3; 0 God Our Help in Ages the Hovhaness Magnificat to be, at best, both performances, I believe most choral Past, op. 137 an exercise in aggravation. I desperately conductors will prefer the St. John's CD. The Choirs and Orchestra of St. John's wanted to combine the best aspects of the The inclusion on the Denver recording Cathedral, Denver; Eric Plutz, organ; two renditions into a single superlative of several additional anthems, including Donald Pearson, conductor performance. The intonation of the St. the breathtalcingly beautiful Psalm 23, will Recorded: March 6-8, 1995 John's Choirs is much better than that of prove to be of immediate value to con­ Delos DE3176; [DDD]; 60:20 the Louisville Choir, but the soloists in ductors of church choirs everywhere. the Louisville recording are far more Vance D. Wolverton Alan Hovhaness accomplished than the (unidentified) California State University-Fullerton Magnificat, op. 157 soloists in the Denver production. I Audrey Nossaman, soprano; Elizabeth greatly prefer the rich, full sound pro­ -CJ- Johnson, contralto; Thomas East, tenor; duced by the Louisville Orchestra to Richard Dales, baritone; University of that of the obviously smaller and less Louisville Choir; Louisville Orchestra; powerful St. John's ensemble; however, CHORAL SUBSCRIPTION 2 Years for just $15.95! Robert Whitney, conductor the fidelity of the more recent Denver re­ Quarterly mailings of all new octavos from Saturn, op. 243 cording (1995) is far superior to that of Theodore Presser Co. & its affiliates. Visa, Mastercard, American Express & Discover ac­ Kate Hurney, soprano; Lawrence Sobol, the earlier Louisville (1976) recording. I cepted. Mail payment (in Canada, $18.45) to: clarinet; Martin Berkovsky, piano tend on the whole to prefer conductor Recorded: originally released on Poseidon Robert Whitney's slightly slower tempos.

A Positive Experience or a lot of practical reasons, Malmark FChoirchime® instruments are ideal for musical instruction. They make it possible for an entire class to experience the process of making real music-almost immediately. Students have limitless potential for continued success. The Choirchime is designed to stand up to constant. . use and.. never needs tuning, just about anyone can master. Everyone deserves an opportunity to experience the joy of making music. Call or write Malmark ~ for more information. J'... ' CALL roLL-FREE: 'Iff.... 1:":" .... "~k 1-800-HANDBEL 1V J.alllJaI~ (1-800-426-3235) BELLCRAFTS EN Bell Crest Park. Box 1200 • Plwnsteadville, PA 18949

MAY 1996 PAGE 67 CONCERTWORLD Presents International Music Festival Opportunities

HARROGATE WEST SUSSEX 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'sp'icturesque 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 coun~'s main ]2erformance hall) and in the Isle of Wight as well as London, Salisbu!y_a_n_d___ , __ 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 June 28 to July 5, 1996 AWESOME ICELAND 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 ofthe 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 downjagged 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, Stoke say 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 perfor:mance 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 BOOI( REVIEWS Stephen Town, editor

Don L. Collins The texts are currently in print, except as well. The Miller book contains an ex­ Teaching Choral Music for Vocal Music Education and Choral tended section on organization including Englewood Cliffs, NJ: Prentice Hall. Music Education, which are included in one particularly thorough segment on jun­ 1992. 544 pp. $60. ISBN: 0138914907 this review due to their continued use as ior high vocal programs and the changing reference sources in graduate-level choral voice. Also given are many suggestions Robert L. Garretson music education programs. for seating arrangements including seat­ Conducting Ch01'al Music ing for mixed, women's, men's, and small Englewood Cliffs, NJ: Prentice Hall. Organization and ensembles. Miller maintains that seating 1993. 432pp, $56. ISBN: 0131756478 Management strong singers and better musicians in the In the area of organization and man­ back (so that the less proficient singers Lewis Gordon agement of a secondary school choral can hear them) strengthens the ensemble Ch01'al Director's Rehearsal and music program, Roe provides strategies and that the primary purpose of any seat­ Pelfimnance Guide for promotion, recruitment, structuring, ing arrangement is to enhance the blend West Nyack, NY: Parker Publishing Co. public relations, auditions, and extracur­ of the ensemble. Sections on organizing a 1989. 272pp. $29.95. ISBN: 013133984 ricular activities. These suggestions are libralY, selection of a librarian, business general in nature, e.g., "The successful concerns (including planning for new fa­ Gordon Lamb songleader must be enthusiastic" (p. 6). cilities), and lesson plans are included as Choral Techniques Garretson offers more detail in the same well. The Gordon text is fundamentally Dubuque, IA: W.e. Brown (now called areas and includes sections on grading, concerned with organization and proce­ Tim~s Mirror Higher Education). 1988. budgeting, selection of voices, and ranges dures, with separate chapters on setting 316 pp. $44.22. ISBN: 0697006123 of children's and changing voices. The up a program, planning and selection of Robinson/Winold text provides little music, and management-including pur­ Kenneth E. Miller guidance on organization, but Lamb de­ chase and care of music, wardrobe, and Vocal Music Education: Teaching in votes one third of his text to such matters equipment. Collins provides basic cover­ the Secondary School as scheduling, purchasing music, budget­ age of organizational issues coupled with Englewood Cliffs, NJ: Prentice Hall. 1988 ing, copyright, equipment, library struc­ a philosophical basis for their inclusion. (out of print) ture, student officers, and preparation for contests, clinics, and festivals. Lamb also Vocal Techniques Ray Robinson and Allen Winold addresses the topic of professional ethics, The Miller, Robinson/Winold, and The Choral Experience the choral director's relationship with Collins texts deal with vocal fundamen­ New York: Harpers & Row (now pub­ members of the school community, stu­ tals in the most detailed manner, while lished by Waveland Press). 1976. 528 pp. dent teaching, and job application. A Gordon, Lamb, Roe, and Garretson offer $34.95. ISBN: 0-88133-650-0 chapter on selection and placement of basic coverage. The discussion of posture voices and guidance on how to audition and breathing by Gordon and Garretson Paul F. Roe select and nons elect ensembles is included is traditional in approach. Lamb treats Choral Music Education Englewood Cliffs, NJ: Prentice Hall. 1983 (out of print) STRAVEL.SERVICE HIS REVIEW compares seven C.. choral music education texts cur- '4TheCon~~rt TOurCO.rr™ ---:r rently ill wlaespreaa~ne--- pres.el1.ts '. comparison is not designed as a critique . of any particular text or approach but, rather, as an informational tool for the" 'r;'~j teachers of teachers. Each text was evalu- ated for its treatment of six primary topics: 1) organization and management of choral programs, 2) vocal techniques, 3) sight-reading methods, 4) conducting ;.:\.'lYriteo,r~all Today . . . .• ·.10031.· ··S ••• <.C-$TRAVEL SER~ICE, INC. ROI3E~i~·'.R<:)AD.··.·. and related issues, 5) choral repertoire '. :PAL:C>S HILLS; IL.LINOIS60465 and style, and 6) rehearsal techniques...... :1 ~800-428-7883

MAY 1996 PAGE 69 Auditors welcome at the 1996 the subject as a choral as well as a vocal issue. Gordon discusses vocal hygiene and ROBERT SHAW CHORAL INSTITUTE how to avoid some common ailments. Robert Shaw, Music Director The thrust of Roe's text, after briefly touching on the concept of good posture and breathing, is based on an overriding In Scenic Park City, Utah goal of solid intonation. He includes dis­ July 21 -- August 11, 1996 cussion of the effects of atmospheric con­ ditions and physiological factors on intonation. Robinson/Winold stress the Auditors may attend all chorus and orchestra rehearsals, concerts role of the individual singer in the choral seminars in choral conducting and choral repertoire conducted -by' experience, with much emphasis 011 the Robert Shaw and the workshop staff in this beautiful mountain physiological aspect of vocal production. resort/community and Salt Lake City. Numerous recreational Their text, as well as Miller's, contains dia­ opportunities and facilities are available making it an ideal location grams of the vocal mechanism and de- for a faJ~nily vacation as well. Audit the full workshop or on a day-by­ ·led-examination.of.thebreathing-pro€ess. --- aayoasls. C011ege creaitis availabletlirough tl:leUniversity oCDtah-.-- The Collins text examines the adoles­ cent voice in great detail. Chapters in­ Lodging and meal packages available clude a historical overview of approaches All rooms include kitchenettes (including Swan's adolescent bass theory), For information contact: the cambiata concept, and a section by Lynne Gackle on the adolescent female Maurice Casey, Associate Director voice. Collins emphasizes pedagogical techniques that are uniquely appropriate (614) 888-7005 FAX: (614) 888-0115 for adolescents. All the texts discuss diction with Lamb, Roe, Collins, and Gordon devoting less coverage to the subject than do the other texts. Miller and Garretson devote a great THE AFRICAN-AMERICAN amount of space to proper vowel produc­ tion, pronunciation, and the treatment of CHORAL ThADmoN diphthongs. Robinson/Winold have the CHARLES S. BROWN most extensive section on diction, includ­ Gimme Yo' Han' ing pronunciation guides for Latin, Ital­ Li'l David Play On Yo' Harp ian, Spanish, German, and French. o What A Beautiful City BRAZEAL DENNARD Sight-reading Techniques Fare Ye Well The Collins text is the only one of those Lord, I Want To Be A Christian reviewed that covers sight-reading in much ADOLPHUS HArLSTORK depth. In a chapter titled "Teaching Music My Lord, What A Moanin' Literacy," he provides extensive, sequenced plans for developing sight-reading skills. AUGUSTUS Hn..L These include a seven-phase program for Fix Me Jesus which he provides instructive examples and MOSES HOGAN training exercises. Roe's chapter on sight­ I Am His Child reading, which includes many drills, rec­ My God Is So High Swing Low, Sweet Chariot ommends utilizing exercises based on the There's A Man Goin' Round literature being rehearsed. Collins integrates rhythm and melodic elements from the ROBERT MORRIS beginning, while Robinson/Winold ap­ Lead Me, Guide Me proach sight-reading from a pitch discrimi­ EURYDICE OSTERMAN nation perspective. They provide methods I Want Jesus To Walk With Me of instruction based on pitch imitation, location, function, distance, and pattern. They stress function within the tonality as ALLIANCE MUSIC PUBLICATIONS, INC. the most important component in suc­ (713)868-9980 FAX (713)802-2988 P.O. Box 131977. Houston, Texas 77219-1977 cessful sight-reading.

PAGE 70 CHORAL JOURNAL The remaining texts treat the topic Choral Repertoire and provide general guidelines regarding dy­ briefly. Lamb states that "more choral Style Considerations namics, tone, tempo, and meter. Miller music would be better received by choirs Each of the texts considers style consid­ and Garretson give basic information with­ if the director adopted an attitude of erations as a fundamental part of a good out going into much musicological depth. presenting a new piece for singing and performance. Roe, Miller, Garretson, and The RobinsonlWinold text is most understanding, rather than simply sight­ Gordon cover the periods from Renais­ thorough in its treatment ofstyle consider­ reading a new work (p. 197)." Garretson sance through the twentieth century and ations. It discusses each historical period in provides a short discussion on tonal awareness and lists interval memoriza- .------tion devices (e.g., "Maria" from West Side Story for an augmented fourth and TRINITY LUTHERAN SEMINARY Polly Wally Doodle for an ascending ma­ Columbus, Ohio jor second). Master of Arts in Church Music Conducting-related Issues Scholarships available for the academic year Each of the texts, with the exception 1996 Summer Music Course Offerings of Collins's, covers conducting at great length. Collins, however, presents a short June 10-14 June 24-28 section containing a good check list con­ Choral Conducting - Ann Howard Jones The Organ in Worship -Paul Manz cerning score preparation and presenta­ Handbells - William Griffin tion. Gordon's treatment of the subject For information on MA in Church Music, contact: is the most extensive-one third of his June 17-21 Professor May Schwarz book. He divides the area into four sec­ Welcoming the Ethnic into Church Music 2199 East Main St., Columbus, Ohio 43209 tions: rudiments of conducting, devel­ - Mark Bangert PHONE 614-235·4136 FAX 614·238·0263 oping expressive technique, learning music, and polishing and interpreting music. Generally speaking, the texts are in agreement on the fundamentals, i.e., conducting gestures must be expressive and the beat must be clear. Differences appear in the various discussions regard­ ing use of baton and the left hand. Lamb acfea encourages use of a baton, and Garretson Tour Consuttants recommends its use for the beginning Perfonning ArtsTours Since 1955 conductor to learn control. The others express no strong preference for or For the last 40 years, ACFEA Tour Consultants against baton use. Lamb provides little has been organizing tours for choirs as diverse as instruction for uses of the left hand be­ yond cueing and added control. Roe sug­ The Mormon Tabernacle Choir gests using both hands as much as Eton College Chapel Choir possible, including in beat patterns. Gor­ don cites the left hand as "the most im­ City of Birmingham Symphony Chorus portant factor in developing expressive San Jose State University Choraliers conducting (p. 90)" and provides a chart Estonian Philharmonic Chamber Choir detailing specific left-hand movements, Kwansei Gakuin Glee Club their psychological effects, and the re­ Turtle Creek Chorale sultIng mus.tcaJ. messages delivered to the -1------1---- ensemble (e.g., angular left-hand move­ With offices in the USA, Europe and Australia, ment is disruptive and fosters percussive let us put our experience to work for you articulation [po 91]). The Roe and Robinson/Winold texts For more information, please contact: provide the most detailed beat-pattern dia­ grams. Roe shows particular patterns for 120 Second Avenue South, Edmonds, WA 98020, USA releases, and Robinson/Winold supply (206) 776-3273 (800) 886-3355 Fax: (206) 672-8187 score samples with beat diagrams. Each of the texts reviewed provides some Offices in San Francisco, Seattle, New York, Denver, Atlanta diagramming of conducting patterns. London, Venice, Prague, Moscow, St Petersburg, Canberra

MAY 1996 PAGE 71 terms of its general characteristics and struc­ such as figured bass during the Baroque derived primarily from the Robinson/ tures, use of voices and instruments, prob­ and visual aspects of twentieth-century lit­ Winold book, and Collins strongly rec­ lems of notation, interpretation of pitch erature. The Robinson/Winold text fur­ ommends that text as an excellent source. and rhythm notation, determining tempo, ther discusses the role of the conductor in Collins covers vocal jazz and popular styl­ ornamentation and improvisation, phras­ each style period. The Collins text is also ing and suggests sources for accurately ing, articulation, and dynamics. Also cov­ quite detailed and is written compactly interpreting those styles. The Lamb text ered are aspects specific to a given period, and clearly. The information it contains is offers a good discussion of stylistic consid­ erations but lacks the detail of Robinson/ Winold or Collins. It is very clearly writ­ ten and presented. In terms of repertoire suggestions, the CHORAL WORKSHOP Collins text contains excellent appendixes Friday - Snnday FOR CHORAL DIRECTORS listing pieces (including publisher) for jun­ ~ 21 - 23, 1996 AND SINGERS: ior high and high school ensembles­ mixed, two to four parts, and male and An Opportunity for Enrichment and Professional Growth:

Review selections suitable for adult and youth cboirs in cburcb and scboo!; for electronic, choral speech, and jazz/ Perform selected pieces and, experience the special musical sensitivity that results from show choir literature. Lamb provides an careful rehearsal; excellent list of major composers and sug­ rwrn.l~~~~~~i~n~the unique Cornerstone format, using narration in a ricb musical setting. gests works of each style period for study. Roe names primaty period composers and 'n::-;:;;:::::::;-;iT.',.~." the founder and conductor of The Comerstone Chorale & Brass, a nationally recruited, professional touring ensemble, performing fine major works of several but not all. Miller choral music augmented by narration. provides a list of composers with one work for each, while Robinson/Winold men­ KAy HOFFLAND, an accomplished accompanist and teacher. who worked with her husband Richard Hoffland for 32 years in the Millikin University choral tion works but do not give a list of rec­ music department and is now a consultant to church and school music ommendations. Gordon includes no programs. suggested literature. Garretson provides a ROLF ANDERSON, has directed choirs in junior high, high school and churches for 26 years. listing of composers by style period and nationality as well as an extensive appen­ dix of suggested literature organized by liturgical season, genre, and voicing. Rehearsal Techniques The treatment of rehearsal techniques in the various texts runs from quite vague to highly detailed. Garretson's chapter titled June 12-16, 1996 "Rehearsal Techniques" covers pre-rehearsal planning, first rehearsal, and introducing new music. Roe offers a basic classroom management discussion and covers some rehearsal techniques • conducting lessons • master classes • reading sessions musical aspects such as pacing of and or­ der in rehearsal. Gordon follows the same pattern but also provides charts and guide­ Sir David Willcocks lines to enhance the planning and running of a rehearsal. Robinson/Winold organize AND THE CCM CHORAL FACULTY, their section on rehearsal into preparation, EARL RIVERS AND JOHN LEMAN organization, planning the warm-up, pac­ ing, introducing a new work, and evalua­ featuring events in the new Dieterle Vocal Arts Center tion. The Miller text has a "how to" section on this area covering score study (with an FOR MORE INFORMATION: CCM Choral Workshop 1996 example), first rehearsal, warm-up philoso­ Division of Ensembles and Conducting phy, and introduction of a new piece. Both University of Cincinnati the Robinson/Winold and the Miller texts Cincinnati,OH 45221-0003 CALL: (513) 556-2696 CiT~~I~~;ti discuss how to improve intonation and FAX: (513) 556-2698 other musical elements. E-MAIL: [email protected] COLLEGE-CONSERVATORY OF MUSIC Lamb devotes a large section of his book to reheat"sal technique, with chapters on

PAGE 72 CHORAL JOURNAL CHORAL JOLRNAL the first rehearsal and daily rehearsals. The first rehearsal segment includes such de­ A SOFTWARE INDEX: VOLUMES 1-35 tails as choral room preparation and selec­ The Choral Journal: A Software Index is updated each summer to include the last completed volume year. Orders received after June 15 will be held and filled with the tion of repertoire. He also provides revised version as soon as it is made available. If your word-processing program is not guidelines for concert preparation by lay­ among those listed below, check its documentation to see whether it will open and read ing out plans for the fifth through final any of the following formats. A hard disk is required for all versions. rehearsals prior to a performance. Collins . Versions Available "'oRe .n.B~IVJ[-Con .. paribDc Con"pl.lrcrs titles his section on this topic "Getting the • Word for DOS (all versions) • Word for Windows (version 1.0 and higher) Most Out of a Rehearsal" and offers a • XY Write III typically detailed discussion. He covers • WordS tar (version 5.5 and higher) immensely practical considerations such as • Interchange format (RTF) the assignment of folders and selection of Versions AvaiDal~Re ('01- IVlfacin1:osh • Microsoft Word (version 3.0 and higher) literature based on difficulty, social and • WriteNow (version 1.0 and higher) cultural appeal, and aesthetic value. • MacWrite II (version 1.0 and higher) Collins's section on rehearsal is structured • Interchange format (RTF) into four parts: planning for success, Witll All Macintosh and IBM-compatible versions are supplied on HD 3.5" diskettes. specific guidelines for determining goals; Ai/i'miOll! afI m, illdllaill~ !11i~~ill~ alia Iialialill~. "In the Beginning," which includes choos­ NaIIle: ______ing and training accompanists (tlle only Street Address: ______City: ______State: Zip Code: ______text which covers that important aspect); Type of COIIlputer: Version desired: ______during tlle rehearsal, which offers specific Quantity Price Enclosed PaYIIlent advice to the conductor such as not to sing along with the choir; and evaluation of the @ $18.00 = rehearsal and students. Complete this coupon and send check or money order, payable to ACDA, to: Choral Journal Software Index I American Choral Directors Association I P.O. Box 6310 I Lawton, OK 73506-0310 Conclusion Each of these texts represents a vast store of valuable approaches, concepts, opinions, and techniques. The information contained , ., rn6 '}(OToh,lp €Iod S'1Uol

MAY 1996 PAGE 73 Plan now to attend the annual UCLA SUMMER CHORAL WORKSHOP with

Professor of Conducting and Director of Choral Activities

PLUS GUEST CLINICIANS: Paul Salamunovich, Conductor, Los Angeles Master Chorale Alexander Treger, Concertmaster, Los Angeles Philharmonic Timothy Mussard, Head, UCLA Voice Department

TWO WEEKS: JULY 22 to AUGUST 2, 1996 Positive, Supportive, Motivating, Practical, Intense Hard Work

TWO FULL-CREDIT COURSES (take one or both for credit or non-credit) CHORAL TECHNIQUES CHORAL CONDUCTING (MORNINGS) (AFTERNOONS) -Developing an exciting choral sound epractical concepts of artistic musical conducting -Rhythmic interest, forward motion, & phrasing -Instrumental techniques for the choral conductor -Section characteristics, problems, & solutions -Becoming a true reflection of the score -Diction, projection, & communication eIntensified conductorial communication -Unified vowel formation & tone color -Beat patterns and styles that really work -Score study, analysis, & preparation -Rehearsal techniques & related topics -Rehearsal techniques, pacing, & planning -Mixed meter conducting -Vocalizing & warm-ups -Understanding the needs of your forces -Breath support & control -Videotaped analysis of your work

For further information and an application, write to: Summer Choral Workshop UCLA Department of Music Schoenberg Hall 405 Hilgard Avenue Los Angeles, CA 90095-1616 (310) 825-4036 CHORAL REVIEWS Corydon J. Carlson, editor

Editor's Note: In this issue we review a new edition of Haydn's Creation and PUBLISHERS THIS ISSUE follow with reviews of several other large-scale multimovement works and A-R Editions, Inc. Jaymar Music Peer"Music collections. 801 Deming Way P.O. Box 2191 Theodore Presser Company, Madison, WI 53717 London, ON, Canada agent N6A4E3 One Presser Place Die SchopfonglThe Creation Carus-Verlag GmbH Bryn Mawr, PA 19010 Mark Foster Music Lawson-Gould Music Franz Joseph Haydn Company, agent Publishers, Inc. C.F. Peters Corporation SATB, STB soli, orchestra P.O. Box 4012 Alfred Publishing Company, 373 Park Avenue, South Oxford, 46.079, $19.95 (vocal score), Champaign,IL61824 agent New York, NY 10016 46.092, $175 (full score) P.O. Box 10003 Durand Editions Musicales Van Nuys, CA 91410 Roberton Publications .Theodore Presser Company, Theodore Presser Company, At last the full score ofA. Peter Brown's agent "Musica Russica agent edition of Haydn's Creation is in print. One Presser Place 27 Willow Lane One Presser Place Brown first discussed his Creation research Bryn Mawr, PA19010 " Madison, CT 06443 Bryn Mawr, PA 19010 in a 1986 book, and Oxford University Press published his vocal score in 1991.1 ECS Publishing Oxford University Press Theophilus Music, Inc. 138 Ipswich Street 198 Madison Avenue Boosey & Hawkes, agent A number of commercial recordings of Boston, MA 02215 New York, NY 10016 Tenth Floor the new edition also have appeared, offer­ 52 Cooper Square ing further means by which we may judge New York, NY 10003 Brown's achievement. 2 Brown wishes his new edition to be considered as an authentic yet practical -0- jjl -- performing text. It tends to the details that VOCAL RANGES ?: ... , performers need: articulations and bowings -e- left incomplete or unclear have been fixed, C c c 1 c2 c3 missing simultaneous dynamics have been added, and so forth. The score is beauti­ fully engraved, and where the German and English versions demand substantially dif­ for his own performances.3 Another is Brown has provided a number of attrac­ ferent music, separate staves have been that the English version of this oratorio tive, historically grounded changes and used. Both measure numbers and rehearsal provided by Haydn's librettist and patron options for performers. The Creation re­ letters are given. In short, it is a good Baron Gottfried van Swieten, as it ap­ ceived its first private performances in the performing edition. It also seems to be a peared in Haydn's 1800 publication (here­ spring of 1798 and its first public perfor­ good critical edition: the full score is supple­ after called the First Edition), betrays its mances about a year later. Not quite a year mented by a preface, a bibliography, a dis­ ignorance of the English language at ev­ after that, Haydn published the First Edi­ cussion of the sources, and an exhaustive ery turn through awkward verse, bad tion in full score. It differs in a number of commentary listing variants among the grammar, and often laughable syllabifica­ details from the surviving authentic per­ original sources, alternative bowings, ear­ tion (e.g., "glides" set as two syllables, fOl-mance materials, and one might assume "--.---- lier versions of some parts, and more. Yet "stately" as three). For English-spealcing that these changes represent second Brown takes pains in his preface to sepa­ audiences, such clumsiness remains a bar­ thoughts on the composer's part. In his rate this version, "primarily aimed at per­ rier to complete understanding and ap­ earlier book, however, Brown convincingly formers and conductors," from any edition, preciation. Any fully authentic version argues that they derive either from the past or future, "primarily aimed at the needs thus falls far short of being fully practical. special nature of the first performances or of scholarship." A first-rate performing edition of The Cre­ from sloppy proofreading.4 Haydn had One reason for Brown's disclaimer is ation should address both these issues. been so impressed by the colossal Handel that all previous critical and performing This one has, but with greater success on commemorations he attended in London editions have been based on Haydn's self­ the first issue than on the second. that he determined to mal<:e his own per­ published first edition of 1800, even First, the good news: having studied formances of The Creation in Vienna though Haydn apparently never used it Haydn's performance materials thoroughly, equally stupendous. Accordingly he enlisted

MAY 1996 PAGE 7S a chorus of 60 to 80 singers plus approxi- reduced other doublings of the bass line and the supporting text to the present full mately 120 instrumentalists, including a in at least nine passages scattered through- score wisely avoids any such polemic, pre­ large string complement, three choirs of out the work.6 Brown's edition provides senting instead a list of eight authentic woodwinds and horns, and two choirs of parts for the extra wind choirs and indi- sources including the First Edition. One brass and timpani. The winds were thus cations of where they should play; it also has to read the critical commentary rather doubled, or even tripled, for tutti passages, restores the original doubling of those nine closely in order to discover that, when­ choruses, and other climactic points. Haydn passages. Among the proofreading errors ever one or more of the authentic perfor­ decided not to indicate those doublings in that Brown has corrected, one stands out: mance sources contains a detail deviating the First Edition, perhaps because he in- in No. 12,7 Brown, following the oldest from the First Edition, Brown has em­ tended the score for the widest possible parts, reverses the lines for the trumpets braced the deviation. 1o What he has cre­ distli\)lltio,n.5 Fort9.ceoflr,st_Edition l1eo al.soc_a.!l<:lhorns at the "sun~(:£, R

in these later sources, some of the June 30-July 6, 1997 most effective details of the earlier texts-of great importance to per­ formers-are lost: ornamentation, -Experience fhe hospifalify of fhe Hearfland- articulations, dynamics, basso continuo figures, and the more detailed rutti/ • Competifion for treble choirs of children solo indicationsY a~e 15 and under. • Artist in Residence: Schola Canto rum de Conspicuous by its absence from this list is any mention of the scoring changes. Caracas with Alberto Grau, Conductor. Does Brown assume that they are of no • ~our international adjudicators. importance to performers? More likely, • All housin~, meals & local transportation he is deliberately down playing those arran~ed by the ~estival. changes, because unlike ornaments and articulations, they could be interpreted as

PAGE 76 CHORAL JOURNAL revisions. Acknowledged as such, their edition based on the original Viennese approved by the composer, is the presence might undermine the overall au­ performance materials to offer much be­ only acceptable version. Thus, we thority of his edition. yond vaJl Swieten's German version. Yet offer the English text and its music We are promised that "all importantvari­ Brown does provide an English text, and as Haydn intended it. 19 ances among the sources are noted in the in doing so he has to some extent con­ Critical Commentary" so that performers cealed his own role in its realization and That statement rests on several un­ can evaluate for themselves the editor's misrepresented the efforts of another founded assumptions. First, Haydn's choices. 13 Yet the wind scoring changes are scholar. His preface states: intentions played little or no part in the minimized or ignored there as well. In the setting of the English text. He composed original parts but not the Engraver's Score It is our belief that van Swieten's Die Schopfimg to the German text, then or First Edition of No. 3, the contrabassoon underlay of the English text, as gave the work over to van -Swieten, who and bass trombone more or less double the string bass part during the opening section's tuttis. How is this information relayed in the critical commentary? Under the rubric for No.3, we read: "General: cbn and btbn HIGHLY ACCLAIMED CHRISTMAS MUSIC from A and B."14 He offers no further de­ from Santa Barbara Music Publishing lineation of the variants. In the Vienna parts for No. 21, the "lion's roar" (mm. 8-13) included two bassoons, contrabassoon, two - LARGE WORKS - trombones, and bass trombone. According SBMP99 Joy to All The World by Craig Bohmler $4.95 to Brown's book, that was reduced to con­ Exciting international medley by an expert composer full orch, chamber orch, or keyboard; 10 min. trabassoon and two trombones for the First Edition. Yet he makes no mention SBMP14 A Feast for Christmas by Emma Lou Diemer $4.95 A Christmas masterpiece; 5 movements whatsoever of that change in the present piano or brass (3 trpt, 3 trb); 13 min. score's critical commentary. IS (Tape 01 other larger works & both 01 these pieces available lor only $5.00) Other aspects of Brown's edition, or his explanation of the edition, must be - BEST SELLING CHRISTMAS OCTAVOS - viewed cautiously as well. Especially SBMP54 Alleluia, Rejoice! arr. J Edmund Hughes SATB problematic is his inclusion-albeit with SBMP53 Blessed Be that Maid Marie arr. Joy Sherman SATB the necessary disclaimers-of various or­ SBMP55 Christmas Gift. (keyboard or arch.) Wang An-Ming SATB naments from the old parts. These parts SBMP90 Here We Come A-Caroling Brant Adams SATB were used in Vienna throughout the nine­ SBMP17 On Christmas Eve Emma Lou Diemer SATB SBMP30 See Amid the Winter's SnoW James McCray SATB teenth century, so whatever embellish­ SBMP18 Sweet Dreams Form a Shade Emma Lou Diemer SATB ments they now contain can hardly be SBMP 20 Away in a Manger arr. Charlotte Bara SA ascribed to Haydn or even to Haydn's time with any certainty. A number are - NEW CHRISTMAS RELEASES - indeed lovely. A few fall, however, well SBMP 121 Away in a Manger arr. Brant Adams SATB outside the boundaries established by the SBMP 128 Bell Carol arr. Dick Thompson SATB composer himself, who once praised a SBMP 132 Rise Up Shepherd arr. Barbara Harlow SATB soprano for singing "with the greatest deli­ SBMP 142 The First Noel arr. J. Edmund Hughes SATB SBMP 125 Angels We Have Heard on High arr. Linda Gingrich SATBtSSA cacy, and so truly that she did not permit SBMP 138 Pentatonic Alleluia Ross Whitney SA herself the least unsuitable addition."IG SBMP 141 Sing We Now of Christmas arr. Brant Adams SSA Compare that statement with, for ex­ SBMP 107 Winter Carol Timothy Snyder Unison ample, the egregious additions Brown of- SBMP 143 Blow, Blow, Thou Winter Wind Emma Lou Diemer Spoken __=feu.l's.-.froJRJ:hLolcLV-.ienn;Lpar.t.LfOL.Eye'L -1-----_THREE-FAVORITESil'rNEW-ARRANGEMENTS,------I----­ final recitative, "Nun ist die erste Pflicht with flute, harp or piano, percussion erfiillt."17) Of lesser concern but equally questionable is Brown's murlcy and some- SBMP 134 Dadme Albricias arr. Ben Allaway SATB SBMP 135 Riu, Riu, Chiu arr. Ben Allaway SATB what superficial advice in the preface re- SBMP 136 Dansaron arr. Ben Allaway SATB garding the issue of alto and basso horn crooks. This topic has been examined in To receive FREE reference copies, copy this ad and Gheck the titles you want to receive. far greater detail elsewhere, and Brown Send along with $3.00 for StH and your name and mailing address to: ls contributes little while ignoring much. Santa Barbara Music Publishing Nor is Brown's discussion of the En­ Post Office Box 41003· Santa Barbara· California' 93140 glish and German texts distinguished by Phone: (805) 962-5800· Fax: (805) 966-7711 utter candor. One would not expect an

MAY 1996 PAGE 77 assumed sole responsibility for adapting applied in all the original sources-when glish text underlay in this edition. In a English words to Haydn's music.20 Van any English words were there at all-and couple of sentences toward the end of Swieten mangled the English at times was carried over into the First Edition?! his source discussion, he admits that and also neglected to provide precise text Every editor of every practical score in En­ fact, but in a way that minimizes the underlay for much of the music. Thus glish since then has had to assume task and its effects.22 In fact, his deci­ most of the lower chorus parts and many responsibility for completing and correct­ sions often unavoidably alter Haydn's arias with repeated words were left without ing van Swieten's work. Thus Brown must music-a criticism he makes of other En­ a fully realized English text. This situation assume responsibility for much of the En- glish versions. He decries "improved" editions from Vincent Novello's (1847) to Robert Shaw's (1957) and singles out Nicholas Temperley's 1988 ,edition fOf' special reproach. What Brown fails to CHORAL CONDUCTING WORKSHOP mention about Temperley's work is that August 5-9, 1996 it is based in part on wordbooks distrib- Cannon Beach, Oregon uted at the first English performances of .. -Internationally renowned Rodney Eichenberger-----~ -- me oratoiio.TemperleyliypoiliesiZeatli-=-at=---- leads this intensive workshop that explores the relationship these wordbooks reflected a return to the of conducting technique to rehearsing efficiency and original English libretto, uncorrupted by performance artistry. van Swieten. The relative beauty and clar- presented by ity of their language support that theory.23 At any rate, they represent an authentic eighteenth-century source, one that Temperley has drawn upon to great advan­ tage. Both the Shaw and Temperley versions remain worth consideration as practical alternatives to Swieten's En­ glish-and to Brown's sometimes prosaic reconstruction as well. 24 A program ofthe Scbool ofExtended Studies These reservations aside, Brown's edi­ at Portland State University tion is a formidable achievement. Central College credit is available. For information, please call Lee at (800) 547-8887 ext 8500. to its value is his inspired decision to examine and employ the original Viennese performance materials. For the conduc­ tor who wishes to perform the work as Haydn did-and especially if large forces will be involved-this is now the score to use. One should also consult Brown's 1986 book for the most candid, complete account of his important research.

NOTES 1 A. Peter Brown, Peiforming Haydn s The Creation: Reconstructing the Earliest WITTE TRAVEL Renditions (Bloomington: Indiana University Press, 1986); Franz Joseph Haydn, Die Specializing in custom-designed tours for performing groups SchopfimglThe Creation, vocal score edited by A. Peter Brown with Julie Schnepel (New UNITED STATES • CANADA • EUROPE York: Oxford University Press, 1991). This SCANDINA VIA • GREAT BRITAIN author's review of the book appeared in ChoralJoumal31 (August 1990): 36-38. 1\ 3250 - 28th Street, S.E. 2 Two of the recordings feature exceptionally 1\ J I Grand Rapids, MI 49512 good performances: Bruno Weil's for Sony Vivarte (SX2K 57 965) and Sir Georg J I (616) 957-8113 or (800) 469-4883 Solti's for London (443 445-2). Wei! conducts the period-instrument ensemble Wherever you travel, let us be your guide. Tafelmusik and the all-male Ti:ilzer Knabenchor (soloists Monoyios, Hering,

PAGE 78 CHOR.AL JOUR.NAL van der Kamp) , while Solti leads the 17 Haydn, Creation, ed. Brown, 285. imagery ranging from nonsensical to Chicago Symphony Orchestra and Chorus 18 A more comprehensive view of the issue grandiose to bizarre, the elements of a in a large-scale reading on modern can be found by consulting Paul Bryan, workshop ("everything is in disorder") are instruments (soloists Ziesak, Lippert, Pape, "The Horn in the Works of Mozart and played off against the activity of a storm­ Scharinger; not to be confused with Solti's Haydn ...," Haydn Yearbook 9 (1975), filled sky, which disgorges "Cossacks, earlier recording). 189-255; and Paul Bryan, "Haydn's Alto Christ, a sun in decomposition, rooftops, 3 The autograph score has been lost. See H. Horns: Their Effect and the Question of goats, sleepwalkers, bicanthropes, Petrus C. Robbins Landon, Haydn: The Years of Authenticiry," Haydn Studies. Proceedings Borel, the winter madness, a genius split "The Creation" 1796-1800 (Bloomington: of the International Haydn Conference. open like a peach, Lautreamont." Vercken's Indiana Universiry Press, 1977),390-93. Washington, D.C., 1975 (New York: writing succeeds in capturing the bril­ 4 Brown, Peiforming Haydn's The Creation, W.W. Norton, 1981), 190-91. liance of the text, scattering difficult ex­ 74-77. 19 Haydn, Creation, ed. Brown, ix. posed vocal lines among the three 5 He also omitted the mutes originally specified 20 For a complete reconstruction of this process, unaccompanied choruses. Through clus­ at the beginning of No. 1 for the trumpets, see Edward Olleson, "The Origin and ter effects, wide skips (up to a ninth), horns, and timpani mute (they are removed Libretto of Haydn's Creation," Haydn fleeting tonality, and rapidly shifting just before the famous burst of light). Yearbook 4 (1968),148-168; and Nicholas tempo and meter, he creates a dramatic Perhaps he felt that less skilled orchestras Temperley, "New Light on the Libretto of structure resembling an informal choral might experience intonation problems; The Creation," in Music in Eighteenth- conversation of up to twelve parts. The see Franz Joseph Haydn, Die Schopfimgl Century England: Essays in MemOlJ of voice ranges are particularly demanding: The Creation, the present full score ed. by Charles Cudworth (Cambridge: Cambridge soprano, a to b~2; alto, aJ. to e2; tenor, B to A. Peter Brown [hereafter Haydn, University Press, 1983), 189-211. a1; bass, E (optional D) to e1. No English Creation, ed. Brown], 331. 21 Nicholas Temperley, Haydn: The Creation text or translation is provided, nor-with 6 Brown, Peiforming Haydn's The Creation, Cambridge Music Handbooks (Cambridge: twelve parts on a page-is there a piano 24-26. Cambridge University Press, 1991),26-30. reduction. 7 Brown uses Eusebius Mandyczewski's 22 Haydn, Creation, ed. Brown, 330. This is a hugely demanding work, numbering from that editor's 1922 critical 23 Temperley, "New Light," 202-203. within the reach of only the most advanced edition rather than the more familiar 24 It is insttuctive to compare various realizations Eulenburg/Peters numbers. of the text underlay for the lower choral 8 Brown, Peiforming Haydn's The Creation, 74. parts in the first choral entrance, "And the' 9 Haydn himself, in announcing publication of Spirit of God moved upon the face of the Southern The Creation in full score, maintained that waters." Novello, Shaw, and Temperley all, he intended it to be used for performance preserve Haydn's rhythm in m. 19; Brown Music purposes: "It will be easier to prepare the does not. Both the Shaw and Temperley parts, should one wish to perform it English versions have been recendy recorded: Company anywhere." Intelligenz-Blatt 15, Allgemeine respectively, they are Shaw, Adanta Sym- musikalische Zeitzmg Gune 1799), quoted phony Orchestra and Chorus (soloists Serving Music Educators and translated in Landon, 471. Upshaw, Murphy, Humphrey, McGuire, Since 1937 10 Because it is not present in the earliest extant Cheek; Telarc 80298), and Sir Simon Rame, score nor, of course, in the Viennese City of Birmingham Symphony Orchestra performance materials, the English text in and Chorus (soloists Auger, Langridge, New for Chorus Brown's edition is talcen from the later Thomas; EMI CDS 7541592). Tried and Proven authentic sources. Choral Warm-ups, various 11 Haydn, Creation, ed. Brown, 329 Lawrence Schenbeck Rhythmic Diction, B.R. Henson 12 Ibid. Vocal Connections, Ruth Whitlock 13 Ibid., preface, vi. S ~ S· ht S· . B k 2 4 ongs LOr Ig mgmg 00 ----I-Baydn,-Creation,-ed_Brown,-.333,~------11--Mliry-fIen:t;nxMwityn-]ones-,II---- 15 C£ Brown, Peiforming Haydn's The Creation, Atelier 26; Haydn, Creation, ed. Brown, 173 (full Francois Vercken Jubilate Deo, SSAA, Peter Mathews score) and 340-41 (Critical Commentary), SATB triple choir with Haydn, Die SchopfimglThe Creation Durand (Theodore Presser, agent), Christus Factus Est, SATB, (Lon don: Edi ·tion Eulenburg, 1925), 197. DLl121 , $24 Peter Mathews 16 Albert Christoph Dies, Biographische P.O. Box 329 Nachrichten von Joseph Haydn (Vienna, In this astonishing and difficult work, San Antonio, Texas 78292 1810), 167. Quoted in Vernon Gotwals, Vercken has set a French text by surrealist 210-226-8167 Haydn: Two Contemporary Portraits poet Blaise Cendrars. Atelier is a detailed Fax 210-223-4537 (Madison: University of Wisconsin Press, look through "the beehive" of an artist's 1963), 180. studio-possibly that of Chagall. Through Toll-Free 800-284-5443

MAY 1996 PAGE 79 choirs. Nonetheless, it is a dazzling set­ in North American Spanish pronuncia­ carols are eminently singable. Their set­ ting of a most fascinating and descrip­ tion, except for two sung in Catalan, for tings effectively display a richness of ex­ tive poem, definitely warranting concert which pronunciations are given. An En­ pression and musical ideas governed by performance. glish singing translation also is provided. and enhancing the original melody. This Michael Braz Taken as a whole, the carols tell the piece is very highly recommended for Christmas story in what Susa calls "their church, college, and community choruses homey, artful simplicity." in either voicing. It should soon become Susa's settings contain a variety of a staple in the repertoire. Carols and Lullabies: Christmas in rhythms, textures, and effects. The pi­ MarkM Ring the Southwest ano reduction in the vocal score should ConradcSusa., not be considered a substitute for the TTBB, guitar, harp, marimba intended guitar, harp, and marimba ac­ ECS, 4840, $14.95 companiment, whose colors contribute Les chansons des roses greatly to the success of the piece. The Morten Lauridsen Originally commissioned for mixed TTBB version demands a high first tenor SATB (last movement with piano) -voices I5yPhilipBrunelle andtliePly­ range, inclUding a I5I~acn voice part Peer (Tneodore Presser, agent), pul5lisneCl mouth Music Series, Minneapolis, Min­ contains a short solo. While vital and separately nesota, Carols and Lullabies was rescored interesting, rhythms are accessible to any by commission of the San Diego Men's average chorus, and no single vocal part 1. En une seule fleur, 01-097098- Chorus. This worthy addition to the is too difficult. Independence of all parts 121, $1.30 Christmas repertoire is based on ten is necessary in the many imitative sec­ 2. Contre qui, rose, 01-097099-121, traditional Spanish-language carols of tions. Harmonies are tonal, with an oc­ 95ct: many backgrounds: Spanish, Biscayan, casional modal reference. Chromaticism 3. De ton reve trop plein, 01-097100- Catalonian, Puerto Rican, Andalucian, is for color and does not pose an obstacle 121, $1.30 Castilian, and Mexican. All are to be sung to effective performance. Above all, these 4. La rose complete, 01-097101-121, $1.30 5. Dirait-on, 01-097102-122, $1.30

This is a cycle of five choral songs­ most suitable for an advanced collegiate ~ ~ ~ .~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ or professional chamber choir-com­ posed in 1993 for the Portland, Oregon, ~ ~ professional chamber ensemble Choral ~ Summer 1997 ~ Cross-Ties. The texts are all by Rainer Maria Rilke from a collection titled Les ~ Dale Warland's ~ roses. They should be sung in French, although excellent reference translations ~ Festival of Chamber Choirs ~ are provided; the settings all reflect ~ Maastricht, The Netherlands; ~ the French poetry both in spirit and .~ Brussels, Belgium; Cologne, Germany .~ rhythmic underlay. According to the composer's notes, the cycle is designed ~ Three Spires ~ to be performed in its entirety, given the common threads of both the poetry and ~ Children's Chorus Festival ~ recurring thematic material. Performance ~ Anton Armstrong, Conductor ~ time is approximately sixteen minutes. ~ Copenhagen, Denmark ~ Lauridsen writes: ~ Church Choirs en Masse ~ These exquisite poems are primarily .~ "Elijah" .~ light, joyous, and playful, and the musical settings are designed to ~ &~ ~ enhance these characteristics and capture their delicate beauty and ~ 7042 N. Weet Ave•• F ..... oo. CA 98711 ~ 800·797·1774 (Offioehl'S.) sensuousness. ~ Northwest Travel Associates 800·48&6795 (24 hI'S.) ~ Ranges are generally accessible, but there is some divisi, especially in the bass ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ part, where a substantive D~ is required.

PAGE 80 CHORAL JOURNAL Dissonances, including added seconds, synthesis of music and text, lyricism comparing the rose to aspects oflife, love, major sevenths, and close harmonies ap­ and dissonance, and choral color and and human experience. Hence, they are proaching tone clusters, require an ad­ texture. The harmonies and innovative less suitable for most high school en­ vanced ensemble and careful preparation. textures exquisitely portray the text. sembles. The overall effect is reminiscent The first setting, "En une seule fleur," is "Dirait-on" quotes the melodic mate­ of earlier French chansons, but with a buoyant and mostly syllabic, witl1 effective rial of the first movement and is the contemporary flavor. This music is chal­ use of repeated note figures and some con­ most accessible movement of the set. It lenging, compelling, and true to the text, trapuntal writing. The words to the sec­ explores the low ranges of sopranos and but only the last movement is accessible ond setting, "Contre qui, rose," begin tenors. It is composed in ballad style and to any but the most advanced ensembles. '~gainst whom, rose, have you assumed is melodic, lyrical, and most traditional David Callen Freed these thorns?" Unresolved dissonances in its harmonic language. (It also is pub­ abound as do lyric interplays between parts. lished for solo voice and piano and for In one passage, "au contraire, rose," me two mixed voices and piano.) This move­ texture expands to nine voices. ment contains a crucial challenge if the In Memory of. .. The use of dissonance in the mird work, entire work is performed: the piano en­ Jack Gottlieb "De ton reve trop plein," is not as easy to ters on the last chord of the fourth move­ SATB, S or T solo, organ comprehend. The text contains more ten­ ment, which is a transition into the fifth Theophilus (Boosey & Hawkes, agent), derness tl1an Lauridsen's harmonic lan­ movement. Thus, the ensemble must OCTB6744, $2.50 guage suggests. This also is the most hold pitch through four difficult move­ difficult piece in terms of tempo changes ments prior to the piano's pianissimo en­ This cantata on poems of Moses Ibn and interpretive markings, providing sig­ trance. The composer has provided an Ezra from Spain (ca. 1055-1138) was nificant challenges for me conductor. optional unaccompanied ending to the composed at the request of the Park Av­ "La rose complete" recalls the sec­ fourth movement. The piano then en­ enue Synagogue in New York City, where ond piece in the cycle, harmonically, ters alone to introduce the fifth. it was first performed on March 18, 1960. thematically, and in terms of tempo. The poems, while light, require a ma­ Although the text is not overtly sacred, it This is this reviewer's favorite for its ture understanding and sophistication, could be appropriate in some religious

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MAY 1996 PAGE 81 settings. Extensively revised in 1993 by Each part develops a melodic idea from This collection of ten short, simple car­ the composer, this ten-minute cantata is the preceding part. Descending intervals ols is suitable for high school, college, or symmetrically structured in five parts: of one part are inverted in another; chro- church choirs. The texts, "rendered into matic chords in part two contrast with the English" by Beryl Tucapslci and Tony V. Key Medium diatonic chords of part three. The last cho- Isaacs, revolve around the shepherds, Mary, Prologue ral section evolves from the intervals in the and the baby Jesus. (Only the English texts I. A Choir organ accompaniment of part four. The are provided.) The work is twenty-two min­ Interlude twelve-tone writing in the vocal solo utes in length but need not be presented in II. C Vocal solo movement demands an accomplished so- its entirety. The choral parts are relatively III. £I. Organ solo loist. The organ accompaniment also is simple; the accompaniment is less so. There N. G~ Vocal solo quite challenging. are a few short solos and occasional divisi. c Epilogue For this reviewer the most powerful Only one of the carols has any ethnic fla­ V. A Choir writing occurs in the choral sections. The vor to it; the others have hymnlike harmo­ texts beckon one to the "court of death" nies with a dash ofcontemporary sonorities calling on man to "remember all his days." here and there. Tempo and style are varied ME NBE tS-S-e-HN-E ttJB -Gottlieb-is-very-successfuhn-setting-this-throughout,particularly-by-rhe-accompa=---­ . text in an approachable yet challenging niment; one carol is unaccompanied. Even OF PHILADELPHIA Allin Harler, Music Director manner. Ranges and tessituras are appro- though there is not much "Czech" about priate, yet clearly this work is written for them, these carols are well written and Position available for the an advanced college or community choir. easily singable. 1996-97 Season The work was written in memory of the Susan Armstrong Apprenticeship - composer's father. Community Chorus Iris S. Levine Leadership Development Program Provides conductors with hands-on Mass in D Major experience in both artistic and Antonio Salieri organizational leadership Koleda: A Cycle ofCzech Christmas Carols Jane Schatkin Hettrick (ed.) Rendered into English SSATB, orchestra Stipend: $2000 Application Deadline: August I, 1996 Antonm Tucapslo/ A-R Editions, C39, $17 (choral score); Information and Applications available from SATB, organ $34.50 (orchestral parts); $49.50 Mendelssohn Club of Philadelphia 1218 Locust St. Roberton (Theodore Presser, agent), (full score) Philadelphia, PA 19107 3088, $8.50 215 735-9922 Published in 1994 this edition ofSalieri's Mass in D joins the ranks of other obscure works now available in the A-R series Re­ cent Researches in the Music ofthe Classical OKLAHOMA CITY UNIVERSITY Era. According to the preface these works are "chosen for their potential interest to OPPORTU., ITIES scholars and performers, then prepared for publication according to the standards that govern the making of all reliable historical editions," In this volume Jane Schatkin Hettrick emerges as the quintessential edi­ tor, In clear and illuminating language, she provides extensive commentary on the Four Fully Staged"~' composer and his historical position, a per­ Outsta formance history of the work, a move­ " '

PAGE 82 CHORAL JOURNAL without vocal solos. In this work Salieri Memento mori: An AIDS Requiem aeternam" text, set in chantlike motion shows occasional flashes of inspiration, James Adler and building to a largely homophonic between which languish lengthy formu­ TTBB; S, M-S, T, B soli; orchestra hymn of praise at "te decet hymnus." Fol­ laic ramblings. The music is at best a Lawson-Gould (Alfred, agent), full score lowing a return to the "requiem" text and Mozart study and at worst an uninten­ and choral score available on rental a gradual decrescendo, the mezzo-soprano tional parody. The weaknesses include an soloist enters with Crisp's Now I Am Dead, unusually high soprano tessitura, odd pair­ Premiered last April by the Atlanta Gay a melodic and mournful evocation of ings of voices (leaving harmonic holes Men's Chorus, James Adler's Memento mori: death featuring expressive orchestral in­ between them), and, most significantly, An AIDS Requiem is a powerful and terludes. Throughout the work Adler re­ long passages of harmonic stasis in which wrenching work in which traditional Latin, serves some of his finest writing for the three or four chords beg for relief. Hebrew, and English sacred texts exist side mezzo. The choir returns with "requiem The Kyrie has some strengths in its by side (and, at times, simultaneously) with aeternam" and "Kyrie eleison" at the close soprano/alto duet at "Christe eleison," contemporary texts by Quentin Crisp and of the movement. chiefly due to some interesting sequences, "personal prose and poetry by and about The "Dies irae" (movement two) is an and the movement closes with a lovely people with AIDS." Adler has created a enormous challenge, employing rapid, Schubert-like surprise cadence that in­ musical setting for these emotionally imitative writing among the basses and serts a colorful B~ into the D-major tonal­ wrought texts that conveys horror, despair, baritones in four-part divisi, a forceful ity. A lack of harmonic appeal and a virtual frustration, and, ultimately, hope, without and jagged statement of the text by the absence of choral polyphony dim the ef­ lapsing into pathos or melodrama. It is a tenors punctuated by sudden dissonances fectiveness of the Gloria, however. Salieri's work that demands an outstanding men's in the orchestra, two, four-voice choirs muse seems to serve him best in passages chorus and gifted soloists to handle its singing organum-like chords antiphonally in which the textual thought is a brief musical complexities. The language is tonal and in two different keys, and a fugue on one, as in the Kyrie; in lengthier or more and ranges from purely traditional melo­ the text "judex ergo cum sedebit." In keep­ complex textual passages, long stretches dies and harmonic progressions to highly ing with the nature of its text, the move­ of less appealing music appear. dissonant passages, polytonality, and ment ends almost violently, with a string In the opening of the Credo, the choir distant key relationships. All four voice of b~l s from the first tenors. fares even more poorly; the writing is parts use the extremes of their ranges, The third movement, "Yizkor (Re­ extended and choralelike. The "Et although the overall tessituras should membrance)," utilizes a non-Western incarnatus est," however, is the most in­ not be uncomfortable for a mature male tonal scheme (E is the tonal center; F spired portion of the entire work. It is choir. Divisi occurs in all parts. and C are natural, but G is sharp). The tuneful, soulful, and chromatic, with a There are nine movements in this sixty­ baritone soloist sings the traditional He­ hint of the master that Salieri no doubt five-minute work. The opening movement brew text as the choir echoes the text in wished to be. The vocal lines of the Sanc­ begins with the traditional "requiem English. The baritone part is in the highly tus are engaging, adorned by rhapsodic orchestral accompaniment. Forward mo­ tion, at last, is present, and the "Ho­ sanna" with its a2 for sopranos is thrilling. F. Melius Christiansen A duet for violins and cellos coupled with a touching soprano line yields a 125th Anniversary Celebration Concerts lovely trio in the Benedictus. Unfortu­ SATURDAY, NOV. 16, 1996 . 7:30 PM nately, despite a choice of endings for SUNDAY, NOV. 17, 1996 . 2:00 PM the Agnus Dei (one quiet and one more upbeat), the work closes unsatisfyingly. Skoglund Center Auditorium This wonderfully researched setting is St. Olaf College, Northfield, Minn. well worth study by conductors and stu- for it . into Salieri and In muslC tory. Because the work does not have seri­ (Moorhead) . Gustavus Adolphus College ous vocal or musical demands, it might Luther College' St. Olaf College serve well as a stepping stone for ensembles not quite ready for the more challenging For ticket information, contad; Mr. A.B. "Bud" Engen classical works. To display both this work 4733 Sharon Lane and Salieri at their best, one might offer White Bear Lake, MN 55110 the Kyrie and the Sanctus/Benedictus as 1 (800) 871·4FMC interesting and engaging highlights. hduw~k",~/ Proudly sponsored by The American Choral Richard Coffey 1871-1955 Directors Association of Minnesota

MAY 1996 PAGE 83 ornamented style of a Jewish cantor; the ist is featured in this movement, ending on Wounded (Ingemisco)" (52818, $1.25) writing for the choir is more straightfor- a series of fortissimo b~2s. The traditional and "Pie Jesu" (52819, $1.25), as well as ward. The choir is in unison or two parts "Pie Jesu," set in lovely lyric fashion for the Adler's adaptation of the "Sanctlis-Holy­ throughout this movement, creating a mezzo-soprano, is movement seven, and Kadosh" for SATB choir with soprano solo transparent texture in which orchestra in many ways seems a complement to the (52820, $1.50). All three movements and cantor are highlighted. despair of the text sung by the mezzo- stand on their own quite nicely. Movement four, "The Wounded soprano in movement four. Perhaps the Corydon J Carlson (Ingemisco)," turns the textual focus from answer to Crisp's question, "What shall we the dead to those who remain alive. In this say ... what can we do" is found in the remarkable poem Crisp asks, "What shall prayer for eternal rest in this movement. we say, who cringed and lived, / to those Movement eight, "LliX aetertla,,, fe:ot- Missa brevis who fought and died, / and what excuses tures the tenor soloist, who rises to b~' and Scott Eyerly shall we give?" The poem mourns the poet's c2 at a very soft dynamic level. A lovely SSA, organ (and, by implication, the audience's) in- passage for alto flute leads into the soprano C.F. Peters, 67447, $2.50 ability either to hide from the guilt of soloist's singing words by Denise A. Stokes -living-while others-aie-or-to-pmvide-eofl-deseribing-her-experienee-at-the-Getober-· Originally-written-for-the-boyehoir-at--­ solation, hope, or words "that will as- 1992 AIDS March on Washington. The the St. Thomas Choir School in New York suage ... their rage, that it was vain." parallel between the "eternallight"of the City, this Missa brevis is a study in beauty Adler provides a moving setting for this Latin text and the imagery of candlelight and simplicity. Each of the voice lines is remarkable poetry, for the mezzo-soprano described by Stokes is a strilcing one. either an outgrowth of-or an answer to- soloist supported by a TTBB octet. The final movement, "Survival," be- a previous line, all accomplished within This movement leads into the unac- gins again with a spoken passage for the the spare framework provided by the or­ companied tutti opening of the "Lacry- baritone. The text by Bill Weaver begins, gan accompaniment. The work opens with mosa," in chorale style. This traditional "I am weary of wiling every day to the a gentle Kyrie in ABA form. The Gloria, in Latin passage is abruptly juxtaposed with a facts of AIDS," but becomes more hope- ~ time, is more joyous, alternating a synco­ contemporary passage from an unfinished ful as it proceeds. The chorus joins the pated statement with flowing lines. This play by Philip Justin Smith describing the baritone soloist on the text "We will af- feeling changes to a more martial i middle death of his lover. The passage is "spoken firm life." A statement of the Latin "cho- section ("Domine Hli unigenite"), given dramatically" by the baritone soloist. Adler's rus angelo rum" text heard in movement impetus by dotted-eighth/ sixteenth-note notes encourage the soloist to "move about six leads to a final "requiem aeternam" rhythms alternating with quarter-note trip­ the stage" as the monologue proceeds, as passage for the choir and soprano soloist lets (the triplets are the only rhythmic chal­ the orchestra accompanies and punctuates. (tal{en briefly to a &3). The work ends lenge in the piece). Mter returning to the This stark and graphic passage is the dark- quietly, prayerfully, and hopefully. syncopated section, the movement is est moment in the work. This remarkable work is not for every capped by brilliant chords ("Jesu Christe"). This low point is followed by the choir, but those who undertake it will be The third movement opens with a high point of the work: movement six, stirred by its content and by Adler's sensi- fanfarelike Sanctus, growing out of a uni­ "Sanctlis-Holy-Kadosh." It is an uplift- tive setting. The orchestra parts (twenty- son into seconds, thirds, and fourths. The ing and joyous hymn of praise in three three to twenty-seven players) are available section continues with a gentle diatonic languages in which all four parts are taken on rental from the publisher with the full melody, leading to the Benedictus, sung into their high registers as the work builds score. Lawson-Gould has also published by a soloist and concluded by the choir. to a glorious "hosanna." The soprano solo- two movements as separate octavos, "The Agnus Dei, the concluding section, is set with simple melodic figures answered by fantasia passages in the organ. This is con­ al:.~~.. :.:::.:.::I·.:·:::.::: ..::I::::'.·.·.::.:.:I:' .. ::.:.::.I.:I:-:::.::::I:::.:.·:;:.':::::I.: .. ~·:.'·.. :.'.:.".I.:.::t:.:.::=:I:::.::.:::..•. :.. :I:·:::::.. ::··.::I:.·.::::::"lm trasted with a more dramatic statement of the text, finally ending with a variation PART PREDOMINANT RECORDINGS of the fantasia ("dona nobis pacem"). This ten-minute work is accessible to Part Predominants Part Predominants help intermediate and advanced choruses. The highlight individual voice you spend more time fine writing is straightforward, with just parts within a work. tuning! enough bracing dissonance to ensure har­ monic interest. The treble voice parts are "The studio singing is phenomenal, precise and true to the idiom. What more can you ask? This saves you the hassle of poundmg out parts and making part tapes. What a tremendous intelligently conceived, with appropriate savings of time and an excellent use 0 ,.. Monie Pedersen, Choral Music Educator. of Arts & Humanities, Pierce College, Tacoma, WA ranges (soprano 1 goes up to al>2). Eyerly's Free demos an ormanon upon request Missa brevis would find an appropriate 1 800290 SING FAX (2061 639-4945 place on any program requiring a fresh 19454136th PI. S.E, Renton, WA 98058 approach to a traditional genre. ;p... -.: .. T::::" .. C ...... L .. ~ ..~] .. --...... C...... ]':... _~~T~-': .:·T .. --·~r:~J-:-::r ... 4 Michael Braz

PAGE 84 CHORAL JOURNAL Musick's Jubilee Andrew Carter Announcing four new SSAATTBB, 5 and M-S soli, orchestra Oxford, 56.064, $14.95 Christmas scores in

This twenty-five-minute cantata in John Rutter's Collegium praise of music draws on texts by Andrew Marvell (Musick's Empire), John Dryden Choral Series. (A Song for St. Cecilia's Day), and Alfred Lord Tennyson (Song ofthe Lotos-Eaters). Just in time for your Christmas program planning, four Christmas The intervallic content and independence classics have been added to The Collegium Choral Series - making of individual lines demand a moderately available, for the first time ever, a total of 15 of the most requested choral advanced chorus. While some of the eight scores recorded by The Cambridge Singers. movements are more accessible than oth­ The Christmas Series includes CCS 801 Ding dong! merrily on high ers, choruses will find all to be rewarding. (8 seasonal carols), $1.75; CCS 802 Three old English carols, $1.30; CCS The predominantly homophonic texture 803 In dulcijubilo, $1.30; and CCS 804Myn lyking, $1.10. (Instrumental often belies the real independence of the score, string parts available for Myn lyking.) lines. While written in an obviously tonal Eleven non-Christmas scores are also available. Choral directors may language, the work often strays into free order a complete set at very low cost by calling Collegium. chromaticism, effectively using dissonance to color the text. Chords and keys related CCS 201 All my hope on God is founded (Howells) $1.10 by thirds or minor seconds are very com­ CCS 202 They are at rest (Elgar) $1.30 mon. Carter employs a variety of rhyth­ CCS 203 a for a closer walk with God (Stanford) $1.30 mic textures, as well as shifting meters, to CCS 204 When Mal}' thro' the garden went (Stanford) $1.30 convey the text. Particularly memorable CCS 205 Surrexit Christus hodie (Scheidt) $1.30 are the three solo sopranos singing "He CCS 206 Libera llOS, salva nos (Sheppard) $1.30 call'd the Echoes from their sullen Cell" CCS 207 Christe, qui lux es et dies (Whyte) $1.10 as well as the lovely harmonized chords CCS 208 Gems of Gregorian cham (ed. Rutter) $1.75 on "there is sweet music here that softer CCS 209 Crucifixus - for 16 voices falls." This piece is recommended for bet­ SSSSAAAATTTTBBBB (Caldara) $2.25 ter community and college choirs. 400 Treble Series Marl, M. Ring CCS 401 Ave Maria - SSAA/SSAA (Holst) $2.25 CCS 402 Vier Lieder aus dem Jungbnl1lnen (Brahms) $1.75 800 Christmas Series TeDeum inD CCS 801 Ding dong! merrily on high (Woodward & Wood) $1.75 Jan Dismas Zelenka (8 seasonal carols for mixed choir including Ding dong! merrily SSATB, SSATB solos, orchestra on high; Blessed be that Maid Marie; Up! good Christen folk, Carus-Verlag (Mark Foster, agent), and listen; King Jesus hath a garden; A Virgin most pure; Past 40.471105, $6 (choral score) three a clock; This joyful Eastertide; Once, as I remember CCS 802 Three old English carols $1.30 Johan aan) Zelenka (1679-1745) was a Sweet was the song; Coventry carol; There is 110 rose of such virtue Bohemian composer active in Dresden CCS 803 In dulcijubilo (arr. Pearsall) $1.30 church and court musical life during the CCS 804 Mynlyking (R.R. Terry) $1.10 eighteenth century. His choral output in- CCS 8041 Mynlyking complete set (conductor's score and all parts) $62.00 eludes 21 masses, 3 requiems, 108 psalm CCS 8042 MYlllyking conductor's score (strings) $15.00 i---settings,-and-2Te-Deums.-O£theJatter,_one-_ --Myn-lyldng-extm-stl'ing-parts-available,eaehl------$bQQ'----I----­ is for double choir, the other is presented in this critical edition along with a scholarly If your music retailer does not have The Collegium Choral Series preface by editor Thomas Kohll1ase. in stock, you may order direct ftvm Collegium: 1-800-367-9059 The Te Deum in D is divided into two major parts, each containing seven move- ments. The composition is substantial in length and would easily comprise an entire concert. Three of the choral movements are very short (one is only five measures long), functioning as introductions (or transitions) to lengthier movements. These

MAY 1996 PAGE 85 are counterbalanced, however, by the Baroque style. The bass solo, "Dignare Chatman handles it well. The ranges are massive opening chorus ("Te Deum Domine," is particularly rigorous. moderate with some divisi in all parts but laudamus"-192 measures) incorporating Zelenka's ability to blend masterful the tenor. The oboe part presents a brief solo selections in the concertato style, polyphony (he studied with Fux and virtuosic, colorful, melodic complement as well as by the final chorus ("In te Lotti) with rich harmonies is particu­ to the voices. Domine speravi") containing extensive larly noteworthy. The Te Deum in D is The third piece, "Music, When Soft fugal writing. an excellent choice for adventurous di­ Voices Die," appears a bit intimidating at Movement no. 5 ("Tu ad liberandum") rectors searching for a festive Baroque first glance, but after a closer look at the adds brass and timpani and is particularly work. The full score (40.471/01) is avail­ intricate tonal cells from which this set­ interesting for its juxtaposition ofgrave, ada­ able for purchase at $32.35. Two ting of Shelley's poetry emerges, it be­ -gio, vivace, and allegro- tempos. The three -­ phonodiscs containing _this and other comes clear that each cell is quite easy, to solo movements require agility in the florid compositions by the composer also are learn and perform. In combination they available through the publisher. create an aural translation of the poetry Lewis W. Gordon that has a stunningly beautiful effect. The Take a step up this year! ...... middle section of the piece presents a --I--~8):lelllntle:islte]r-(~boilr-~ic)()11s--I-I------star~nomopnonic, milcl1y russonant con- trast, leading to a brief repetition of the There Is Sweet Music Here beginning. The oboe is present for nearly Stephen Chatman the entire 3:22 of the piece, and the part SATB, oboe will definitely challenge the player. Jaymar, published separately Finally, Blake's "Piping Down the Val­ leys Wild" begins with a jaunty ~ tune 1. "There Is Sweet Music Here," introduced by the oboe then talcen over by 02.305, $1.50 the sopranos while the men sing pedal 2. "Song of the Laughing Green fifths. Dissonance in choral harmonies, Woods," 02.306, $2 unison sections, contrapuntal episodes, 3. "Music, When Soft Voices Die," and simple pedals are interspersed 02.307, $2 throughout and offer sufficient tonal con­ 4. "Piping Down the Valleys Wild," trasts to the incessant rhythmic patterns 02.308, $2 to maintain interest. While ranges are moderate, the polytonal chords will re­ Stephen Chatman presents a lovely suite quire attention to intonation. of four poem settings that may be per­ A fine high school or collegiate choir formed effectively together or separately. large enough to handle the divisi, along The first of the set, Tennyson's "There Is with a first-rate oboist, could perform Sweet Music Here," is a very lyrical, serene this entire set quite well. The oboe part is • Low-cost rental music for musical interpretation of the poetry with a available separately from the publisher choruses few ungraceful moments of text declama­ (02.311, $5). • Ideal for small choirs and tion where rhythmic emphasis and syllabic Joan Whittemore small budgets accents do not coincide. With a little care, • Over 700 titles however, the conductor can focus the en­ • Spans the Renaissance to the ergy of the line and meaning of the text to 20th Century maintain a graceful flow. This first piece Vasily Titov and the Russian Baroque: • Sacred and secular presents no vocal challenges but offers Selected Choral Works • Large and small works enough dissonance to keep the singers Vasily Titov • Orchestra parts for many titles listening well. The oboe part, essential to SSSAAATTTBBB • Call Monday-Friday, the work, requires a player who can sustain Musica Russica, $49 9-5 Eastern time pitches in the upper register. "Song of the Laughing Green Woods," This compilation, transcribed and ed­ one of William Blake's Songs ofInnocence, ited by Olga Dolskaya, represents the first contrasts with the first work, employing a volume of Music a Russica's Historical Edi­ D#riket£i~t~l:yQf'¢h6~~N1:ti~i¢ lively tempo and changes in meter from § tions from its Monuments of Russian Sa­ ··.'t4~Fr~e¥ibfary·of~1;ltl~4elphiM to ~. The piece is in a verse-refrain form, cred Music collection. This book explores with the verses skillfully varied so that choral music from the largely neglected (~Jila~~I~~~,~xei~~6~~ii~~ each voice has a chance to sing the melody. Russian Baroque (ca. 1630-ca. 1740), an ...... •...... (715)686-5361 ...•.. The final chorus of "Ha, Ha, He" could era in which sacred works served as the verge on being silly if not handled well; vehicle for many significant changes in

PAGE 86 CHORAL JOURNAL Russian music, most notably its transfor­ a research anthology than as a performance viding thoroughly researched, clearly ed­ mation from an Eastern chant-influenced score. However, the publisher also offers ited scores at a reasonable price, along idiom to Western-style polyphony. offprints of individual compositions, with with enlightening information on this VasilyTitov (ca. 1650-ca. 1715) was prices ranging from $3.50 to $12. unjustly neglected genre, Musica Russica one of the most prominent composers Clearly, this is not music designed for and editor Dolskaya have given choruses in Moscow, reputedly having written an average chorus, given the number of ample opportunity to explore this music more than two hundred choral works. voice parts and the Russian text. Never­ effectively. Titov's compositions are representative theless, the works in this collection will James Maroney of the so-called high Russian Baroque, offer great musical rewards to those en­ which witnessed the development of sembles who rise to its demands. In pro- -C]- large-scale works for eight to twelve voice ,--______parts, setting various liturgical services known as Sluzhbf Bozhije (Divine Ser­ vices), as well as partesnije kontsertf (sa­ cred [vocal] concertos) composed for church feast days. This volume contains four previously The~ unpublished major compositions all for SSSAAATTTBBB: Titov's three-move­ R~~~k~C~J1Cr'~'lC ment Divine Service in a Minor Key, his Festival Hymn to the Mother ofGod: "The Angel Cried Out, " and his sacred concerto AN EXCITING RANGE OF COURSES o Thou Joy ofAll the Sorrowful, as well as AROUND THE UNITED KINGDOM the anonymous sacred concerto Who Shall Separate Us? Despite the large number of SALISBURY 8 -17 JULY 1996 voice parts, the compositions maintain The English Choral Heritage clarity due to their straightforward har­ for choir directors, worship leaders and monic progressions, largely syllabic set­ ting, and simple, often repetitive rhythms. CARLISLE Textural changes occur frequently, yet po­ The Church Musician in a lyphony is generally reserved for sections for all church musicians war featuring fewer than six parts. The ranges, at a local level tessituras, and melodic contours of all voices are accessible. SALISBURY Each work is prefaced by a poetic En­ glish translation, and the texts underlaid with the music are in the original Church LIVERPOOL Slavonic (rendered in modern Cyrillic Holiday Course for Organists characters) and in transliteration. A con­ cise yet excellent pronunciation guide is YORKSHIRE OALES, SCARGlll HOUSE, 17 - 24 AUGUST 1996 provided as an appendix. Also included The Complete Music Director in the appendix is Titov's brief, simple SSTTBB anthem The Great "Many Years" runs alongside a holiday week Hoi ide~urses (no English translation of the text is for all the family given), which was widely sung in Russia for YoungMusicians too becoming very popular there and abroad. Piano reductions are provided for every piece. Rounding out this 203-page edi­ Richard Seal Salisbury Cathedral Jeremy Suter. Carlisle Cathedral tion is a brief yet informative chapter on Dr David Stan cliffe Bishop of Salisbury Peter Alexander Wilson Royal College ofOrganlsts Titov, the manuscripts, and Russian Ba­ Canon Jeremy Davies Salisbury Cathedral Anne Marsden-Thomas St Giles Organ School David HIli Winchester Cathedral Geoff Weaver .Directbr of Studies, RSCM roque performance practice, along with Harry Bramma Director. of RSCM David Sanger International R.ecitallst appendixes containing critical notes and a select bibliography, all of which are The~S1~~ z· . oya~ CrwO Full details from: Royal School of Church Music printed in English and Russian. Addington Palace, Croydon, CR9 5AD, UK The price of this handsome hardbound ~~c Telephone: +44 (0) 181 654 7676 book malces it more appropriate for use as

MAY 1996 PAGE 87 ADVERTISERS REVIEWERS THIS ISSUE INDEX Susan Armstrong Donald Callen Freed James Maroney MAY 1996 Malone College 46 Fuhr Hall of Music Department of Music ACFEA Tour Consultants ...... 71 515 Twemy-fifi:h Street, NW Hastings College University of New Haven AD Intcrnadonal, Inc ...... 5 Canton, OH 44709 Hastings, NE 68901 West Haven, CT 06516 A!liancc Music Publications ...... 70 Ambassador Travel Service ...... 58 Beautiful Star Publishing, Inc ...... 56 Michael Braz Lewis W. Gordon MarkM. Ring Boys Choir of Harlem ...... 43 Department of Music St. Joseph's University First Presbyterian Church BrighrleafMusic Workshops ...... 56 Georgia Southern University, 5600 City Avenue P.O. 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PAGE 88 CHORAL JOURNAL

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From August 6-12, a select group of America's finest choirmasters and organists will have a rare opportunity to improve their skills in semi~ nars and critiqued workshops, under the guidance of international m.;ts­ ters of the church musician's art.

Margaret Hillis . Stephen Cleo bury Mary Berry John Butt Founder, Chicago Organist and Director of Director, Scll0la Associate Professor of Symphony Chorus Music, King's College, Gregoriana of Cambridge, Music, University Organist, Cambridge, England England University of California, . Berkeley . . Situated on Cape 'Cod, Master Scbola '96 will explore practical applications of the choral and organ music of J.S. Bach, and conclude with a special performance of the St. Mattbew Pa.ssion conducted by Margaret Hillis. Make your reservations soon, as size is limited. All inclusive registration fee is $695. For meals. and ~egistration only (rooming not provided), the fee is $595. .

. Send Information request form to:. . . Master Scho/a, c/o Mrs. Barbara Cole P.O. Box 283l, Orleans, Massachusetts 02653 or call 508;255-3999

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