SEPTEMBER-OCTOBER 1967 TE
Official Publication of the AMERICAN CHORAL DIRECTORS ASSOCIATION 1fJ./UUn tIt.e --__--, Executive Secretary's r I Id 1------:JJeMe fr The second week in July proved a val uable and interesting one when we were guest clinician-director for the Alfred Institute for AGO members :held at Al fred state University in that city with r n r Lois Scholes as director for the 19th year. A delightfully charming lady with an equally charming husband, long a world fESTIVAL ANTHEMS WITH BRASS figure in ceramics and ·now retired, the Scholes made the week an enjoyable ex perience of wQrking with about 150 Five well·known octavos specially arranged for brass accompaniment. All church organists and choir directors from are SATB. Each copy, 35¢ the northeast and Canada for the week to present a concert of some of the works covered, devoting the remainder of the General time to reading other materials and dis cussing choral techniques and ideas. "All Nature's Works His Praise Declare;" trumpet obligato Jack H. Butler While in Alfred, we had a chance to "Give Unto the Lord;" trumpet Philip Landgrave spend ,considerable time with Anthony Cappadonia and his family and make "Now Thank We All Our God;" 2 trumpets, 2 trombones Walter Ehret plans for next year's choral festival which Alfred state A&I College spon Christmas sors each spring. Cappy is record review er for The Choral Journal and requests "God Rest You Merry, Gentlemen;" 3 trumpets, 2 trombones. Bob Burroughs that all members interesting in 'having their choirs reviewed, send him copies of their records preferably with copies Easter of the music used to facilitate a more valid evaluation. Music will be returned. "Christ, bur Lord, Has Risen;".2 trumpets, 2 trombones .....Virgil T. Ford Anpther idea for record exchange was discussed at TCDA and will be found in another part of The Journal. FANFARE WITH ALLELUIAS FolloWing a one week vacation in Wis by Philip M. Young. SATB choral music with text based on Hebrews 12:12. consin and another week at home trying to sort out the mail that had piled' up, Features organ accompaniment and optional parts for 3 trumpets, 2 trom· we left for a second delightful experience bones, a tuba, and tympani. Brass parts published separately. 35¢ which had been delayed for a year: at ,tending the annual TCDA ,convention at San Antonio, Texas. Give regal treat Fanfare with Alleluias-Instrumental Parts ,ment during our stay there, we were de lighted to meet so many of the Texas The brass accompaniment for the choral music of the same title. Two pages members and officers and sincerely hope each of trumpet and trombone parts; one page each for tuba and tympani to be able to repeat the visit at an early parts. ' $1.50 date. We have spent so much time writ ing all these names, it was both a pleas Selected IBroadman Octavos for Upcoming Christmas ure and relief to finally attach faces to well-known names. Outgoing President Programs; 25c Each Karl Hick,fang and his staff are to be highly complimented on the excellence SATB of their convention which follows the Band Association meeting the first of MF 799 Joseph, Hold the Candle High; Medium.Difficult McNair the week and in particular for the social honoring all past-presidents of TCDA MF 844 While Shepherds Watched Their Flocks; Medium Read·Ross which gave us an opportunity to meet all MF 849 A Child This Day Is Born; Medium Work former Presidents except one who is no MF 851 Who Is This Boy; Easy Rogers longer in the state, as well as to get acquainted with the incoming officers MF 852 Christmas Song; Easy Villa·Lobos·Faustini and with Secretary-Treasurer C. M. Shear MF 854 I Know Not How That Bethlehem's Babe; Easy Dykes·Bass er whose term lasts another yli!ar. While it is impossible to 'name all the members we met and talked With, we were im SAIB pressed by the hospitality both of ACDA and the Theron Kirk family whom we MF 857 When Christ Was Born of Mary Free; Easy Ehret finally met in entirety. We hope that these meetings were but the prelude to long and lasting friendships and trans Unison & Two-Part fer of letters during the coming months and years.· MF 679 Good Christian Men, Rejoice; Easy Burroughs MF 754 Jesus Christ Is Born This Day; Easy McNair ACDA New Home ACDA finally'!;J.as a home of its own!! Option to buy was taken in April and this past month the actual purchase was made and the property at 7514 N. Hu bert, Tamp~'. 33614 is now the home of Select Broadman Music at Your Music or Book Store ACDA"Choral Journal. The telephone is . -Continued on next page MUSIC
SEPTEMBER-OCTOBER 1967 1 Tony Cappadonia and more recent ad paid before November 1, 1967, this is the ditions, Rod Walker, Bob Burroughs, final issue of The Choral Journal you Jack Boyd and Don Bisdorf have all will receive. Another article in this issue !FrfJ/n tile EtlltfJ~ been a great asset and help to the editor gives you further information and all who is deeply grateful for their work. members who have not as yet paid their Changes are being made in order to re dues will receive a reminder and Dues Reviews and Reviewers Notice with this issue, to be sure you During the next few months we wiJ1 lieve some of these people after so long a time and to 1;Jring new and different keep your membership active and con be undergoing a gradual change of re tinue to receive The Choral Journal reg viewers for our Industry Associate mem viewpoints to our readers concerning materials reviewed. As soon as positions ularly. Action by the National Board this bers and Advertisers,. so we ask each of summer was taken to make the cut·off you to check the Choral Review page are filled, companies concerned will be notified in order to keep materials com date as listed in our Constitution and for the name and address 'of your own Bylaws official from now on. Those pay reviewer in order to get materials to him ing in for the columns. We are pleased to welcome the E. C. ing dues after the cut off date will re for review in each issue of The Choral ceive back issues missed, but the move Journal. With the assistance of several Schirmer Company of Boston as a new Industry Associate member of ACDA and will save the organization the cost of committee chairmen, we are endeavoring printing and mailing several hundred to find members whose o.pinions are re advertiser in The Journal. Their fine catalogue will make the choice of se copies to those who do not continue spected and who will take on the respon . their membership. Each of you can help sibility of keeping review material ready lections to be reviewed a good problem for their reviewer. by being certain your own dues are paid for each issue. and by contacting those who have neg The Choral Journal editor and staff State Chairmen Addresses lected to pay up to now. as well as ACDA members owe a deep In a move to strengthen communication to: debt of gratitude to our Choral Review lines, we have removed the State Chair ers who have given unstintingly of their men list from the President's page and time and work to keep the review pages are placing them in another section df CHOIR ROBES ClERGYROBES filled since The Journal was started. The Choral Journal with complete mail Veteran reviewers Maurice King, Al ing addresses. Likewise, mailing addresses ALTAR HANGINGS Blinde, George Gansz, Kent Newbury, will be placed under National Officers' names on the Ti'tle page so that any EXECUTIVE SECRETARY - Continued member or person interested in joining ACDA will know where to write to se Area 813, 932-4484 where you can reach cure additional information for his own us mornings, Monday through Friday. State or Division. Because of numerous Our personal number used in The Jour Wide selection of colors and changes in addresses and inability to styles in a variety of beautiful nal (935-9381) still serves for afternoons change the former lists, the new method fabrics, including colorfast so and week-ends, although both numbers will allow us complete flexibility in keep lution-dyed materials, for 'cool are listed in the Tampa directory, call comfort and a well-groomed ing addresses of all officers up to date. appearance. Expert tailoring one if the other doesn't respond. Since The only question we have is, "Why and styling at remarkably low we do go out of town occasionally, we d,idn't we think of it sooner?" prices. Mention Choral Journal. may have to end up with an electronic IRELAND NEEDLECRAFT gadget that records your calls when we Are Your Dues Paid? 3661 San Fernando Road are gone so we won't miss you. t·: If your 1967-68 ACDA dues are not GLENDALE, CALIF. 91204
U/ilh o R and TWO NEW CHORAL SERIES Songs Of Praise From Early America THE SACRED BACH Edited and Arranged for Mixed Voices (SATB) liy DON McAFEE Free transcriptions of the One hundred years of sacred music presented chronologically "Geistliche Lieder und Arien" according to original publication date: THUS SAITH THE HIGH, THE LOFTY ONE Billings (1770) for Mixed Chorus (SATB) FROM ALL THAT DWELL BELOW THE SKIES Billings (1778) by FRANKLIN KINSMAN ERECT YOUR HEADS, ETERNAL GATES (.35) Law (1778) o BE JOYFUL IN THE LORD (.35) Selby (1782) EVER FAITHFUL I REMAIN THE LORD IS RISEN (.30) Billings (1786) I KNEEL BESIDE THY CRADLE HERE THE LORD IS GOOD TO ALL Holden (1792) IF PERCHANCE THE FINAL HOUR I HEARD A GREAT VOICE Kimball (1793) IT IS FINISHED o COME, SING UNTO THE LORD (.35) Kimball (1793) ANTHEM FOR THANKSGIVING DAY (040) Billings (1794) JESU, COMFORT OF MY HEART LET THE SHRILL TRUMPETS WARLIKE VOICE (.30) Swan (1801) JESU, GLORY OF MY LIFE MY REFUGE IS THE GOD OF LOVE Walker (1835) JESU, JESU, THOU ART MINE THE BABE OF BETHLEHEM (.35) Southern Harmony (1835) LORD, THOU LIGHT OF ALL MY BEING THROUGH ALL THE WORLD BELOW Southern Harmony (1835) MY LORD, HOW BRIGHTLY SHINES THY GLORY I WAS GLAD WHEN THEY SAID UNTO ME Hastings (1847) BE HONOR TO GOD ETERNAL (.35) Mason (1861) o MY SOUL, BE NOT DISMAYED ,BUT IN THE LAST DAYS (.30) Mason (1869) .30 each .25 each except where marked for reference copies of (llny six titles, write to Dept. C-9
BOURN co., 136 West 52iJd St., New York, N. Y. 10019
2 THE CHORAL JOURNAL E~T '. ....• ./. •.....•. D·A. ER ,',,-'1 '.,j f Music; U. of Illinois' THE EDP:R.ESS inois 6Ul"Oi j :'.~II)~~;·':':"';':::\~"·";'::::'~:;):":i:':-';::'::;:',::':;::'~ J: . RHODES ...... • . 202 Music.B1dg., U:of Tennessee . . Tennessee 37916 i SEC . ~RESlnEN~ 1·-- ,·;r':EJ·~R.qN,~:l, ,:,--,,- Copyright © 1967 by the American Choral Directors Association IRECTORS' '. '. :reef', ~7/e'<~ec:~:~/l!-,ry- ~:. -': Editor, The Choral101miai R. WAYNE HUGOBOOM, Managing Editor VOL. VIII, NO.1 R. WAYNE HUGOBOOM' P.O; Box 17736 . Tampa, Florida 33612 I t Bastern"Division.' MARY E. 'ENGLISH i.' ...• State University College Potsdam, ;No,v. York. 13676 SEPTEMBER-OCTOBER 1961 . NoriJ,. Central Divisla:n . . R. BYRON GRIEST .Washingioii High School Massillon, Ohio 44646 What's In a Name, Richard H. Brewer 6 Northwestern., 'Pt-'vis/on, ROBERT E. ROBINS '. '. Claudio Monteverdi, 1567-1967, Efrim Fruchtman 12 Roseburg Senior High School Blend in Choral Sound, Larry W:yatt ~ ...... 15 Roseburg, Oregon '97470 . Dat's Da Kine From Da Haht (Heart), Shigerze. Hotoke 18 .Sontheri, Division RICHARD G. COX Sacred and Secular Choral Music, Frank Tirro 20 University of North Carolina Greensboro, N. C..27412 .. Benjamin Britten's War Requiem, Willia.m W. Lell/.011ds 22 Instruments of the Baroque Era, Kenneth E. Miller 25 Executive Secretary, 1; From the Editor, 2; Reagan Madrigals' Tour, 4; short Summy-Birchard Offers Recording, 5; Scramhled Singing, 8; The Cham subjects. ber Singers Visit Virgin Islands, 10; Is This Your Final Choral Journal?, . Indnstry Associate RepreSenlative ... , 11; Ohio ACDA Holds Enthusiastic Clinic, 21; Future of Choral Music to KARL BRADLEY be Theme at Seattle Convention, 24; Highlights of TCDA Convention, 26; G., ',Schirniertln'c., ,- Elementary Sessions Held at TCDA Convention, 28; Florida ACDA Chap New York, N. Y. 10017. ter to Co-sponsor 1st Choral Workshop, Seymour Swets Honored, :<9; Representative-aI-Large Financial Statements, 31; Choral Reviews, 32; Record Review, 34; Cham .HELEN LOUISE GRAVES ber Choir, Book Review, 5; Choral Music Workshop of U of SWat La Music Sup:, SI. Louis Schools fayette, 36. 6251 Nottingham SI. 'Louis; Missouri 63109 cover This year commemorates the 400th anniversary of Claudio Monteverdi, picture. baptized May 15, 1567 at Cremona, with the picture of the composer in DONALD L. BISDORF (Book) his middle years and a superb article by Efrim Fruchtman in this issue; Monteverdi died at Venice November 29, 1643. i JACK BOYD (Choral En~emble) BOB BURROUGHS (Choral) A. C. CAPPADONIA (Record) CAPT. R. L. LANDERS (Choral)"; PUBLICATIONS COMMITTEE: Alfred R. Sl All communications regarding The Choral Journal should be addressed to The Editor, P. O. Box 17736, Tampa. Florida 33612. Phones: (813) 935-9381: ACDA - Choral Journal 932-4484 (if no answer at other number) Cop~'rlght 1%7 by The American Choral Directors Association, P. O. Box 17736, Tampa, Florida 33612. Issjled 6 times yearly: Sept.-Oct., :';ov.-Dec., Jan.-Feb., Mar.-Aprll, MaY-.Tune, JUly-Aug. Subscriptions to Institutions Only. Rates: $3.00 a year; MexIco and Canada, $3.50; For eign, $·1.00; Group Subscription (5 or more copies to one address) $1.50 each per year; Single COpy, 60c. Second Class postage paId at Tar pon Spring-s, Fla. Puhlication OITlre:, (Do not return mall to, 01' communicate with this office) Route 1, Box 365A, Tarpon Sprlng-s, Fla. 33589 SEPTEMBER-OCTOBER 1967 3 REAGAN MADRIGALS' TOUR INCLUDES EXPO '67 This summer was most challenging for a group of 10 teenagers from John H. Reagan High 'School, Austin, Texas. This singing troupe, known as the Rea gan Madriga.ls was chosen by the United States Information Agency to perform' at Expo '67 in Montreal, Canada. Under the direction of James Shep pard, choral director at Reagan High School, this group was organized in 1966 for the purpose of singing "just for fun". After several performances for various clubs and civic groups, the youngsters were encouraged to audition for Expo '67. An audItion was arranged with the U.S. Office of Information, resulting in an invitation to represent the United States at the fair. Governor John Connally commissioned the group as official representatives of the State of Texas. Members of the troupe are Howard ALlen, Clyde Bennett, Bobby Bertram, Sharon Dearing, Doug Garman, Jan Howell, Syndy Karnstadt, Caia Kent, Ann Lucksinger, and Marilyn Townsend. Membership in the Madrigals -is only Jacques church on August 6. In addition, singing talent to Austin groups as pay by audition and maintenance of a B-plus concerts were scheduled in Memphis, ment for donations. scholastic average. This year each mem Tenn.; Richmond, Ind.; Detroit, Mich.; ber of the -group received superior rating Maplewood, N.J.; Washington, D.C.; Ra in University Interscholastic League vo leigh, N.C.; Atlanta, Ga., and Dothan, cal solo competition at the regional level. Ala. The whole -group also rated superior for No travel or expense funds were pro its vocal ensemble performance at the vided for this trip by either the Exposi regional level. tion, the Austin Public Schools, or the The Reagan Madrigals left Austin' Ju~y U.S. Information Agency. Therefore, the 29 and returned August 15. They sang at students worked to raise the necessary the Exposition on August 5 and in St. funds "on their own" offering their A ~fllfll!!fld Ii!]! of SACRED AND SECULAR CHORAL WORKS MIXED VOICES Larger Choral Works for Mixed Voices with Optional BERGSMA Band and/or Orchestra Accompaniment Available on On the Beach at Night .. CM 6300 .35 Rental ... In a Glass of Water Before Retiring.. CM 6273 .25 DELLO JOIO FINNEY Madrigal CM 6287 .30 Pilgrim Psalms 0 3640 3.00 A Fable CM 6299 .35 FOSS HANSON Psalms 04034 2.00 Sail, Sail Thy Best, Ship of Democracy CM 6988 .25 HARRIS HANSON If I Had a Ribbon Bow CM 6517 .25 Song of Democracy . 04028 1.00 Song of Human Rights .. 04435 1.00 KOHN Sensus Spei ; CM 7553 .35 KECHLEY The Dwelling of Youth .. 04183 .50 LO PRESTI Tribute CM 7260 .25 SACCO Make Haste, 0 God, to Deliver Me .... 04527 1.00 MENNIN Gold Threaded Robe CM 6418 .25 WATTERS and BECKMAN In the Quiet Night CM 6417 .25 America's Heritage .. 04623 .70 NELSON How Happy the Lover ; CM 7593 .50 SIEGMEISTER Poor Wayfaring Stranger CM 4691 .20 '--CARL FISCHER, Inc. 62 Cooper Sq., New York, N. Y. 10003 TCIMPIDIS The Tailor and the Mouse CM 7423 .30 BOSTON. CHICAGO. DALLAS. LOS ANGELES 4 THE CHORAL JOU~NAL make them available to the members of Summy-Birchard Offers . ,ACDA,on a complimentary basis,. if you Recording to ACDA Members ,would .like to insert a statement to that effect in The ChorBa Journal," Because of a conversation at the re Contents of the album include: Gloria. cent TCDA convention at San Antonio, Latham; The Lamb. George; Black is the Texas with Fred E. Smale, Educational Color. arr. Smale; A Prayer to the Night, Director for Summy-Birchard Company. Beadell; It Lies Not on the Sunlit IDll, ACDA members have a unique opportun Lekberg; My Heart is Always Wander ity to'secure the Collegiate Choir Album. ing, arr. Pooler; Free at Last, arr. which the company is discontinuing. P.fautsch; Kari, arr. Preus; I Want ilie Facing the problem of destroying the Lord to be Near. Morgan; How Old Are albums or distributing them indiscrim You?, arr. Smale; Somebody's Knocking inately, Mr. Smale and y,our Editor felt at Your Door, arr. Pfautsch; I Must Sing, that the membership would be extremely McKay; and Kathryn's Wedding Day, interested in having them if the com arr. Luvaas. pany felt it advisable. Send your request for the 'album to A recent letter from Mr. Smale tells Summy-Birchard Company, 1824 Ridge us that approximately 800 copies are on Ave., Evanston, IH. 60204, Attention Fred hand and adds, "we would be pleased to E. Smale, Ed. Dir. II 1967 CATALOGUE II CHORAL MUSIC ORGAN MUSIC (with and without Organ) Organ Solo Female Voices with other instruments Male Voices Organ and Voice Mixed Voices with various instruments CHAMBER MUSIC with Orchestra PIANO MUSIC VOCAL MUSIC Piano Solo "'oice and Organ Piano - 4 Hands Voice and Piano 2 Pianos - 4 Hands with various instruments Write: \'IS.'.O'l'O CHRISTMAS MUSIC FOR Oir. Ed. Promotion ... <- BRASS CHOIRS HARPSICHORD CHAMBER ORCHESTRA LUTE MeA MUSIC IN , 543 West 43rd Street ~ GUITAR RECORDER HARP STRING ENSEMBLE N.Y.,N. Y. Please send FREE choral catalog. ORGAN AND STRING ORCHESTRA Name CORELL!: 12 Concerti grossi HANDEL: 12 Concerti grossi School 373 PARK AVENUE SOUTH Address C. F. PETERS CORPORATION NEW YORK, N. Y. 10016 City state Zip ------SEPTEMBER-OCTOBER 1967 WHAT'S ina RICHARD H. BREWER Chairman, Dept. of Music and Director of Choral Activities Name Pfeiffer College, Misenheimer, N.C. JOYOUS In the May-June issue of The Choral Music takes up three columns in HDM. Journal, Jack Boyd's column entitled It is entirely a definition ot a genre of "Chamber Choir" suggested an intriguing instrumental music. However, if we sub PRAISE "contest." Mr. Boyd made a plea for a stitute vocal terms for instrumental definition of "just exactly what a Cham terms, we might come a little closer to ber Choir is." In addition to supplying the justification of "Chamber Choir" or Compiled, edited and at least one definition of "Chamber "Chamber Singers." The article reads arranged by John Cramer Choir," I would like to carry' the "con (and we substitute), "Instrumental (vo test" a few steps further and see if we cal) ensemble music ;performed by one The answer to your search for NEW can justify some of the myriad titles player (singer) to the part,as opposed Junior church ch.oir music. which, are ,g~ven to choral groups today. to orchestral Oavge choral works) music In our search for a definition of any in 'which there are several players, (sing 17 anthems for +wo-part treble choir ,musical term we can usually consult ers) to the part." According to HDM, with piano or organ accompaniment. 'available dictionaries and especially mu chamber ensembles range in' size from (Julien) sic dictionaries. However, we find little three to eight members. I believe there ALLELUIA, PRAISE OUR LORD help from any dictionary when attempt are few groups called "Chamber" some ing to define' the names given to today's thing in the U.S. with fewer than 12 (Spanish Air) choral ensembles. Even though there are voices. If there are smaller groups, they COME, CHILDREN, JOIN TO SING numerous music dictionaries on the mar are usually called something' else. There (Bach) ket, most practicing musicians accept the seems to be no set maximum size. How FATHER, FRIEND, THY LIGHT Harvard DictiO'llary of Music as the au ever, the chamber orchestra of the 18th (Handel) thority. Since 1944, Professor Apel's work century usually had around 25 players.' FLING OUT THE BANNER! has been an invaluable aid. But alas, the We might accept this number as our (Herbst) designations given to -modern vocal en maximum. ,If we continue reading the FORTY DAYS AND FORTY NIGHTS sembles are not defined as we might have HDM article, we find that chamber mu hoped they would be. In reality, some of sic was originally "eif' small dimension, (Rameau) the,terms we use as choral group names of intimate character and suitable for HE CARETH FOR ME have nothing to do with the function of performance in a small room or hall." (Mozart) the terms as defined in HDM. Let us ex~ The 18th century draWing room was the HOSANNA, LOUD HOSANNA amine some of these terms. focal ,point of chamber -music perform~ and others In deference to our contest, let us first ances. With these facts we seem to be Complete, $1.50 examine "Chamber Choir." Many col getting closer to a definition we can ap leges and universities in America have ply to our groups called "Chamber" a vocal ensemble called "Chamber Choir" something. However, we are not sure Don Malin's NEW or "Chamber Singers" or some other us how the group of forty'voices mentioned Sacred Madrigal Series ing "chamber" in an adjective sense. It in Mr. Boyd's column can be justified. is true that no one has explained what According to the foregoing information, the size is to be or what voice' parts one might question the validity of calling, MADRIGALI should be used, or what music the group this group a "Chamber Choir." should sing. I confesE! that our college Another criteria for the chamber vocal SPIRITUAll lists a group called "Chamber Singers." ensemble might be the type of -music it 16th century madrigals present,ed for the The size of our group varies from 12 to sings. But again we have little tradition. first time in modern editions. 16 mixed voices and with three or four The' chamber vocal ensemble we are at-, voices to a part. Further, this group tempting to define is a rather recent (Philippe de Monte) sings the types of music listed below. idea. Music which is most conducive to THE RISING OF THE SUN It is the most selective group on our small ensemble singing are madrigals NOW,PAST, THE DEADLY PERIL campus (we have six choral groups) (Italian and English of the 16th century), comprising the best readers and those polyphonic Lied, balletts, polyphonic ONCE I HAD HOPED FROM THEE with the best vocal sensitivity and tech chansons of the 16th century, motets (Giovanni Palestrina) nique. and cantatas of the Baroque, and some CITY OF GOD If we examine the word "chaomber" in polyphonic music of the 20th century. a musical context, we find that no dic Most of the music of the 19th century COME, THEN 0 HOLY tionary utilizes the word in relation to is not as suitable as the types just listed, BREATH OF GOD vocal music. The definition for Chamber but one can find some possibilities in I KINDLY JESUS (Andreas Pevernage) o LORD, MY FAITH IS IN THEE music art publications announces the Write Dept. C-I for LARRY CHRISTIANSEN CHORAL SERIES available reference copies A CHILD IS BORN SATB 25 PRAISE YE THE LORD SATB 25 Prepare Y01tr Christmas mat.erials SOMETIMES I FEEL (spiritual) SATB i '" .25 now - write for free Christ MY LORD, WHAT A MOURNING (spiritual) SATB 25 111a'S choral thematic booklet. WESTERN WIND TTBB 25 order directly from MARKS MUSIC CORPORATION LARRY CHRISTIANSEN CHORAL SERIES 1016 'Balmoral, no. 403W Chicago, Illinois 60640 136 West 52 Street - New York, N. Y. 10019 (complimentary copies available) ---'-----,---'------,------'- 8 THE CHORAL JOURNAL the works of Brahms, Mendelssohn, Concordia, have also moved into the con 1111111111111111111111111111111111111111111111111111111111111111111111111111111111 Schubert, and Grieg, to mention a few. cert hall. On the other hand, there are A chamber vocal ens'emble then must be , many coHege groups going by the name limited in size (about 16 is perhaps an of "Concert Choir" (ours is one) which average size), sing music of small di do most of their performing in churches mension, and intimate character, and its while touring. To go a bit further, a members should be the best vocal mu large church in the West has a "Motet sicians in the area. . Choir." The only time we ever heard this The other word, "Choir," often used group, they sang ,no motets. How often in the name of this type of ensemble, we see advertised that such and such ... ··,·Il·"" ." """. also needs clarification in order to jus "Bach Society" will perform Handel's tify (or not justify) its use. HDM says Messiah or that the "Haydn Society" C0rO, a choir is "a body of church singers, as will present Mozart's Requiem. We can opposed to the secular chorus." (Please all rest assured the Drs. Shaw and Wag --...",.--- note that the .word "chorus" is not de ner were instructed in their early musi fined in HDM.) Since the modern "Cham cal training as to the definition of a ber Choir" does not normally serve .the chorale (HDM: "The hymn tunes of the' function of church singers, we seem to German Protestant Church'''). Yet each be out of line in using it. The Chamber of these gentlemen gave his group the Choir is more often found in the concert title of "Chorale." So we have the Robert hall or other such place. To save argu Shaw or Roger Wagner Hymn Tune of ment, we will admit that the Chamber the German Protestant Church! Pardon Choir may appear in church services on th'e hair-splitting, but what is a "Chor occasion. At our school we avoid the ale" when applied to a group of singers? word choir by calling our group "The Schola Cantorwn is another well known Chamber Singers." Obviously we recom name on the American choral scene. Do mend it. After all it is a small group of the groups who go by this name really selected singers which sings the types of function as a "singing school?" A group music listed above. in New York City called The Collegiate If one travels around the U.S.. or even Chorale is no longer just a group of col reads The Choral Journal, he finds an lege students as the name indicates. How interesting list of terms employed in the did The Camerata Singers get its name? Joseph Was Travelin' names of various choral ensembles. Some A large church in California lists the of these prOVide us usable material for Criers ,Choir in its Ministry of Music. Davenport (SATB) ...... 30c hair-splitting..For instance, there is a The group includes only those in the :major university on the west coast "wet set." A favorite text comes to mind My Soul, Awake! which lias a group called "The A Cappel when considering this group: "They la Choir." Strangely, it rarely performs shall not all sleep but they shall all be Coggin (SATB) 30c any music without orchestral accompani changed." Of course, we could go on ad ment. How come "A Cappella Choir?" infinitum to the point of ridiculousness Silent The Forests Many who have travelled with the West but it seems that a group which calls minster Choir have been amused when itself the "so and so" singers by taking Butler (SSA) 25c certain music lovers have referred to the name of the conductor is quite safe. this group as "the choir from England." It's his group, it sings and has no nebu Walk With Me 'This famous choir took its name from lous title which might restrict the type Davenport & Oliver .... 30c the name of the church in Dayton, Ohio, of music it sings. '' where it first began as a church choir. In conclusion, it seems that future dic As we have said, HDM states that tionaries need to expand some terms Jesus, The Very Thought "choir" means a. body of church singers. which have taken on newer meanings. of Thee In recent years Westminster Choir has Perhaps this could be a project for been heard almost exclusively in the con ACDA - or should it? Maybe we should Oliver (SATB) 25c cert hall. Two othex: well-known, "pro let well enough alone. After all what's fessional" college choirs,' st. Olaf and in a name? to: Let Song Be Lifted High ~~-"'~i5~.{~·~ik.~il!1JtJi}::~i'-·tAll"e..'.{i\)~1l;,!J/l;~~-"'~p!~'{~·~~3,i~~1';~" SEPTEMBER-OCTOBER 1967 7 Publishers of the J/jos Finest Editions for Music Education DONALD L. JONES INEW CHORAL RELEASES I Director of Vocal Music, BelleviHe Township H. S. West, Belleville, Illinois • THERON KIRK Immanuel, We Sing Thy Praise SATB accomp.••..••. Ed. 5465 - 25c Praise, Praise Ye the Lord "Scrambled Singing" has long inter-, tion. Fig. 1 was the designed order and SATB a cap.•.•••••.. Ed. 5464 - 25c ested me since my first experience with Fig. 2 was the error order. Sing to the Lord A New Song it at the University of Missouri, Colum SATB accomp. ••••••• Ed. 6302 - 25c bia, Missouri in 1961. When Prof. Tom • WALTER ROD BY Mills, University Singers Director, told Song Triumphant (A Festival Salutation) us th.e first time to re-arrange ourselves SATB div. with opt: brass so we were not next to someone from accomp. ••..•••••.•. Ed. 5463 - 35c our section, I thought that he was joking. • HERBERT PANKRATZ However, 'within the first few minutes A/lHail the Power of Jesus' Name after singing in this "scrambled" order, SATB accomp.•••.••• Ed. 5466 - 25c its merits were very· evident. • MARILYN RINEHART Send Out Thy Truth Our high school directors are prob SATB accomp.••..••• Ed. 5462· 25c ably thinking that this scrambled singing is for advanced singers only. Louis H. ~i~ • RALPH WILLIAMS Jesus Born in Bethlehem Diercks gives reference to many advanced SATB accomp. ad lib..• Ed. 5461 - 25c groups in his article, "The Individual in True, the order was not far out of line Give Ear to My Words, 0 Lord the Choral Situation" that appeared in but the sound was better and the girls SATB accomp. opt.•••• Ed. 5442 - 25c the March-April 1967 issue of The Chor said their rehearsals in "scrambled or • GORDON YOUNG al Journal. I, for one, say it is advan der" was the reason for them not falling La Nativite tageous and helpful for the high school apart. SATB a cap....••••.. Ed. 5447· 25c level also. The next year I did more with my • GERHARD TRACK Sophomore Ensembles and they did real Christmas Cradle Song Five years ago I experimented with well in performances. Realizing that my SATB a cap with alto my Sophomore Girl's Advanced Chorus fears were not justified, I began work solo ..••••.•.••..••• Ed. 5450 - 25c in rehearsal. At first I noticed an in ing the 2nd semester with my Sopho Write for single complim,entary copies tangible new sound, but feared on pro more Choirs the next 2 years and this grams it might not work. However, as past year with the Concert Choir. (Be NEIL A. KJOS MUSIC CQ. most of us know, some of our best laid fore this past year I taught only Fresh Publisher plans go astray. As this group came onto men and Sophomores. With the opening 525 8USSE PARK RIDGE, ILL. 60068 the stage in our Festival of Songs Con of a second high school in Belleville in cert, someone turned the wrong direc- September 1966, I now have the Juniors and Seniors also.) My plans in the future call for the continued use of the "scrambled order" from PRESSER as: 1. The singers hear their part in ref erence to the total chord besides achiev (1hltral ~1tsir fltr QIhrisf1ttaS ing a better blend. 2. The choir members like it as they SATB - a cappella feel that more responsibility is placed Birthday Greeting .•...•..••....•...•.••.••.•..•..••••..••.•. Z. Kodaly upon them to carry their weight. One Sing We Nowell ...... •.....•..•••...... •..••....•...... Talmage member said in the conventional order SATB • with accompaniment "we rely on the person next to us and Noel (Three French Christmas Carols) .••.•...•...•.....•.... arr. E. Schillio relax too much. In the scrambled order Virgin Mary Had One Son ...... •••...... •..••.....••..•. Willumsen we have to think and work.,. Another SA • a cappella comment was: "We not only improve Christmas Dance of the Shepherds ...... •....••...... ••.. Z. Kodaly the blend of the choir, but also our own SA or JUNIOR CHOIR - with accompaniment voices as we have to think for ourselves." Once in Royal David's City Lewis Developing "Scramble" Available at your Local Music Dealer, or write My order for a mixed chorus in regu lar order is Fig. 3. I then divide them Theodore Presser Company 8 R Y N MAWR, PEN NS YLVANIA 19010 8 THE CHORAL JOURNAL New Chairman of the Music Depart He will act as an adviser in the promo ment at the University of Maine in Or tion and development of the Mills edu nono is Robert C. Godwin, who has been cational catalog. His primary concern will head of the choral department at North be chorus, band and orchest·ra methods Dakota State University at Fargo for and repertoire. the past several years. Chairman of the As one of the most sought~after young Advertising Committee for The Choral conductors and educators on the musical Journal, Bob will conduct the Concert scene, Mr. Kaplan numbers the follow into two choirs by twos (2 sopranos, 2 Choir in his new position as chairman. ing among his current responsibilities: basses, etc. together) as in Fig. 4. A Edwin R. Fissinger, Head of the Depart Conductor, Collegiate Chorale; Founder ment of Music at the University of Illin and Conductor, Camerata Singers; Musi good double quartet sound is first real ois at Chicago Circle, will be the new cal Director, Henry Street Settlement Or ized by the choir when Fig. 5 is reached. Chairman of the Music Department and chestra; Director of Chora;l Music, Juil director of the concert choir at North liard School of Music; Sacred Music Fa Dakota state, replacing David Ledet, who culty, Union Theological Seminary. is moving to Washington, D.C., as Ex ecutive Secretary of NASM. In securing New Members or changing your own address, be certain that both Address and Zi'p are plainly marked, and Abraham Kaplan has been named Ed your name is printed to avoid errors in ucational Consultant by Mills Music, Inc. copying. The scrambling truly takes form when In reverse the second and fourth rows as New in Fig. 6. The final move in my devel opment is then into single quartets in stead of the double quartets. anthem e T A B STA B,S mUSIC S BA TSB A!T with a Fig. 6. Small section of choir. Directing the choir in scratnbled order message is not a real problem. My choir knows that the cues will be given in the same for today position as if the choir were in regular Steel engraving of Michelangelo's PielA order (Fig. 3). They have never com Along with the well-known favor copy. Each anthem available as·oc plained, even when asked, about mistak ites, there is a need for new music tavo @ thirty cents. ing cues because of being in scrambled in the church ... musk that under I AM order. girds efforts to make faith relevant An S.A.T.B. Choral Festival New concepts in music are slow in to our secular world. Such are these Seven original anthems on the "I new offerings from leading con coming. Here is a choral arrangement Am" sayings of Jesus, by such dis idea that I feel is great and rewarding temporary composers, brought to tinguished composers as Joseph you by The Sacred Music Press. not only to the choral performance sound Roff, Haydn Morgan, Gordon Young, improvement, but to the singers. Those I BELIEVE and others. An effective cantata, directors who try the "scrambled sing An S.A.T.B. Choral Festival of Faith choral festival, or musical support ing" concept will find that their choirs Seven distinguished contemporary tor a sermon series. also can sightread new music easily and composers attempt to answer-in Price: one dollar and fifty cents, music and text-fundamental ques sometimes better in this order. :.: Each anthem available as octavo @ tions being posed during the cur thirty cents. rent religious self-examination. I BELIEVE provides timely support for NEW OCTAVO ANTHEMS a festival of faith; or individual Gordon Young "Jesus, Thou Blessed RECORD EXCHANGE numbers will complement a series Name of Mercy." A cappella an of sermons discussing faith for our them in changing rhythms. Thirty In order to facilitate exchange of re times. cents. (E81) cOl'dings between c h a r a I directors Includes seven original anthems: "I Herbert Grieb "The Three Riders." throughout the country, The Choral Believe" - Gordon Young; "The Bright original carol for Christmas Journal will devote a section of each is Deer Is Panting for the Stream" or Epiphany, with a folk song qual sue to those interested in such an ex Van Denman Thompson; "Keep Not Ity. Thirty cents. (E8S) change. If you desire to hear other Thy Silence"-A, Schwadron; "God Don McAfee "Holy Infant of Beth Of The Earth"-Philip Young; "The choirs and have them hear yours, please lehem." For Advent, a cappella. Living Christ"-Robert Elmore; "0 Thirty cents. (E91) send your name, address and zip with Day of God, Draw Nigh"-Eugene information on your record (Jr. HS, Butler; "God Is Not Dead"-Joseph John Leo Lewis "The Innkeeper." B.S., J r. College, College, University, Roff. Novel Christmas carol with striking text. Thirty cents. (E92) Church, etc.) Price: one dollar and fifty cents per The information will appear in The Choral Journal and those interested will Many other new octavos, plus exciting new organ music-write for 1967 catalog. contact you directly regarding exchange of records. Names will be listed in the Record Exchange column as they arrive. Send us news with your dues! SEPTEMBER-OCTOBER 1967 9 THE CHAMBER SINGERS VISIT VIRGIN. ISLANDS The Chamber Singers of C. W. Post College, Long Island University under the direction of Alexander Dashnaw, recent ly made a tour to st. Thomas in the Virgin Islands. This tour, the culmina tion of an active year for the 24-voice group, was the first appearance outside the continental United States for any of the college's organizations. It all began with an invitation to the two-year old choir from the College of the Virgin Islands to appear as the fea tured musical ,group at their annual Spring Arts Festival. They offered to house, feed and entertain the group during their stay on 'St; Thomas, but the large cost of air transportation was left to the Chamber Singers. Facing this prob lem, the students decided to each provide $25 toward their transportation and the local Greenvale Chamber of Commerce and the Parents and Friends of the col lege voted to aid in the remainder of the needed funds as a thank you gesture for musical programs presented to them earlier in the year by the group. The five April days away were filled with many new sights and experiences The return trip was planned to allow Send us news with your dues! for the students. Excellent pUblicity re a day of sight seeing in San Juan, Puerto sulted in a standing room only attend Rico. With the arrival of a tired but ance at the evening program for the happy group back at Kennedy Airport public _. many of whom had never heard at 2:45 a.m., a most memorable and sat a live choral group before. isfying tour had come to an end. The Original R ~~ 1967 Additions to the &q~i~ ~~ Volkwein Choral Catalog ~~------<5nbriel jfnure THE PERFECT MUSICAL OFFERING FOR ~~ SA.TB Be Known To Us In Breaking Bread J. HOPKINS $ .30 Lenten, Palm Sunday, ~~ Captain Jinks C. SMITH .30 and Memorial Services Give Ear Unto Me Arr. W. EHRET MARCEllO .30 with Latin and English Text by ~~ God Is Everywhere O. DUNGAN .25 MACK EVANS ~~ I lift Up My Eyes (Sop. Solo) R. WICHMANN .25 Vocal Score complete $ 1.25 ~~ In A Manger M. POSEGATE .25 Chorus Parts Each .60 ~~ (Children's Choir or Sop. Solo) Full Orchestral Score .... $10.00 ~~ Nightly Prayer A. DilANNI .25 Harp part $2.00 ~~ Responses and Amens R. WICHMANN .25 (from the orchestration) ~~ Small Song of Gratitude S. YAHRES .30 Organ part $3.00 ~~ Steady, Jesus listening C. NOSSE .30 (from the orchestration) Rental materials supplied only ~~ This Is The Day of light (Also SABJ Arr. G. BRANDON .25 direct to the Performing ~~------Organization. ~~ SSA. Give Thanks To The Lord Sr. T. GERTRUDE, O. P. .30 Ol'chestratlon Includes Fnll Score, 2 Flutes, 2lllJ Clarinets, 2 llassoons, 4 ~~ Tyger, The J. ROFF .30 HOl'ns, 2Bb Trumpets, 2 F Trumpets, :J Trombones, Timpani, Harp, Org-an ~~ W_h_ith_e_r_T_h_o_u_G_o_e_st E_._G_O_L_D_M_A_N ._3_0 and SU·lng-s. All orders shouM state string re ~~ SA. Who Is This Man of Galilee? F. McWHERTOR .22 quirements and give the date or ~~------dates of Performance. ~~ VNISON Thanks Be To Thee G. LEONARD .22 Text ...... per hundred $ 5.00 ~~ *FREE THEMATICS AVAILABLE UPON REQUEST (Latin ami Engllsll) prlntect (1) side ~~ Orcllestra parts avallalJle on rentnl from tile ~~ VOLKWEIN BR 5e, INC. H. T. FitzSimons Co., Inc. / ~~ 117 SANDUSKY STREET PITTSBURGH, PA. 15212 615 N. LaSalle St., Chicago, III. ~~ Established in 1888 10 THE CHORAL JOURNAL IS THIS YOUR FINAL CHORAL JOURNAL? STRIKINGLY NEW As the result of action by the National their 1967-1968 ACDA dues. Since the Executive Committee at their June meet cut-off date is November 1, 1967, the ludwig CHORAL ing, the official cut-off date as listed in November-December issue will be mailed 1967 Publications the ACDA constitution and bylaws was to all those who pay their dues before made effective and a directive issued that date, as well as to those already S.A.T.B. that the September - October Choral paid for this year. Members paying after Ludwigs Proudly Announce Release of Journal should be the final issue mailed that date will be forwarded back issues Paul W. Whear's to members who have not as yet paid of Journals missed. In past years, The Journal was not PSALMS OF CELEBRATION stopped until later which meant that for Chorus and Orchestra (Organ or Piano) those members in good standing were Complete Choral (all 3 parts) $1.50 or separately in Parts I, II & III at SOc each paying for copies mailed to those who Orchestration on Rental either paid late, resigned, or were de faulted because of non-payment of dues. The new and permanent plan will save THERON KIRK both ACDA and The Journal consider Behold, God Is My Salvation 30c able expense and help stabilize our an nual membership as well as develop early DAVID PLANK paying habits among more of our mem For Thy Church We Thank Thee 25c bers. Response to the first dues notice DAVID WARREN was excellent; hopefully this second no Let All The Earth Sing Praise 25c tice will help substantially to clear un paid ·memberships. Texas members un S.S.A. paid are requested to forward their dues RUTH DeCESARE WALTER H. FARRIER to Sec'y-Treas. C. M. Shearer, P.O. Box Dinah Oh! (Jamaican Folk Song) 25c 3428, McAllen, Texas 78501. Walter H. Farrier has been appointed Send for our Catalog and Samples assistant professor of Music and Director The paragraph, No.5, under Section Exciting Novelties, Spirituals, Madrigals, of Choral Activities at the Willamette 1, Article 1 of the Bylaws, dealing with SINGING SERGEANTS SERIES, and Chor University, Salem, Ore., College of Music membership dues is reprinted: als with Instrumental accompaniments. by Dean Charles Bestor. Farrier, a member of the American Active membership shall be a contin Choral Directors Association, formerly uing membership, contingent upon the ludwig Music Publ. Co. served as Director of the Concert Choir payment of dues. The member may re 557-667 East 140th St. Cleveland, O. 44110 at Texas Lutheran College. A graduate quest Inactive status, valid for one of Yale University, Farrier received both year only, by a letter to the Executive his Bachelor and Master of Music de Secretary of the Association prior to No In securing New Members or changing grees in church music at the University vember 1 of the membership year. The your own address, be certain that both of 'Southern California. He has had ad member who does not make this request Address and Ztp are plainly marked, and ditional study at the University of Texas. and Whose dues have not been paid by your name is printed to avoid errors in Farrier is a composer and arranger as that date shall be reclassified as a Delin copying. well as a conductor. He was a singer quent Member. This classificatiQn may with the Roger Wagner Chorale in 1961 be changed to that of Inactive Member 62 and has been the director of music by written request during the year. Re and tenor soloist at a number of churches instatement to Active Membership may in the Los Angeles area. be made at any time during the mem For the past two years, Willamette's bership year 'by payment of dues. The In College of Music has been selected as one active or Delinquent Member who does of six music schools in the nation to re not renew his membership by November ceive the "Award of Merit" of the Na 1 of the following year shall be dropped. tional Federation of Music Clubs and Reinstatement to Active membership of the American Society of Composers, Au such member shall be made upon the thors and Publishers (ASCAP) for its payment of dues for that year, plUS a activities iIi the advancement of Ameri reinstatement fee of $2.00 and a written can music. request for reinstatement. 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 1967 .. 1968 CHORAL MUSIC A."I1;"Il1bbll~e Shortly More Impressive ~ CATALOG Christmas Programs A complete selection of distinctive styles Gratis up'on request ond quality fabrics. All colors and shades. Send today for FREE catalog: C-23 (Choir E. C. SCHIRMER MUSIC CO. Robes ond Accessories); J-23 (Junior Robes). 600 WASHINGTON ST. • BOSTON, MASS. 02111 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111101111111111111111111111111111111111111111111111111111111111111111111111111111111111 SEPTEMBER-OCTOBER 1967 11 CLAUDIO MONTEVERDI EFRIM FRUCHTMAN Memphis state University 1967 is the year of the 400th anniver volume edition of the collected works of sary of the birth of Claudio Monteverdi, Monteverdi edited by G. F. Malipiero. the composer given the title "creator of Individual compositions may be found in modern music" in the biography by Leo various other historical sets and anthol Schrade. This was not an original trib ogies. There is a need, however, for more ute by the 20th century scholar, but, as performance editions of the music of Schrade indicates, was derived from one Monteverdi. A list of some of the works EFRIM FRUCHTMAN by a contemporary of Monteverdi's. In available in performance editions will Author of the article is Efrim Frucht man whose training in performance was 1640 the composer Benedetto Ferrari follow this article. Reference should also at Juilliard School of Music with master hailed Claudio Monteverdi as oracolo be made to the encyclopedia articles on and doctoral degrees in musicology from della 11lusica (prophet of music). Monteverdi by Redlich in Grove's Dic the University of North Carolina, followed Like Beethoven, another prophet of tio11ary of Music alnd MlIsicia11s and in by study in Vienna. He and his wife, Car oline Sites Fruchtman, are weLl known music, Monteverdi's life and work were Die MlIsik il1 Geschichte und Gegen for their research in early musical instru absorbed in two style periods. As Beet wart. ments and their present study is on use hoven's early compositions derive from Monteverdi's life was centered in Cre o·f instruments in baroque chamber can the classical models of Haydn and Mo mona, Mantua, and Venice, and except tatas and duets. They also present com bined viola da 'gamba-harpsichord and zart, so do Monteverdi's Sacra CaqttiuJlt for a brief "excursion into Hungary and viOloncello-piano recitals which encompass culae, Canzolletfe, and first madrigals one later into Flanders, he lived only in the span of musical history including derive stylistically from the works of northern Italy. He was born in May, contemporary composers. Fruc:htman is Arcadelt, his teacher Ingengneri, and 1567 in Cremona, then a provincial city. presently on the faculty at Memphis state University and has served on the faculties other masters of classic sixteenth cen There is little information on his early at Ohio. State University, the University tury polyphony. Like Beethoven Monte life. The title page of his earliest pub of Arizona, and most recently at Trinity verdi's life of composition resulted in lished work, a collection of three-voice University at ,San Antonio, Texas, where the creation of expressive music of great motets entitled Sacrae Canticulae, indi he has directed the collegium musicum at each institution. individuality. His beginnings in estab cates that he was a pupil of the director lished procedures were to lead to the ex of music at the Cremona cathedral, Marc perimental harmonies of the fourth and Antonio Ingengneri. The exact date of Turks. It was not uncommon for a polit fifth books of madrigals, and finally to his departure for Mantua is not known. ical leader to include musicians in his the complete transformation of idiom in It is assUlned that around 1590, by the retinue on an expedition of this nature. his late works. Hans Redlich in his time of the publication of his second Six months passed before they returned, biography of Monteverdi has described book of madrigals, he was appointed to and Monteverdi underwent certain fi his creative attainments as follows: his first permanent post as SIUJ11.atore di nancial losses as a result of this venture. vivllola. (viol player) to Vincenzo I, The next year Wert died, and Pallavi In the last three publications by Mon Duke of Mantua. Prior to this appoint motive~ cino was promoted to the post of chapel teverdi, the madrigalist, the ment Monteverdi had published a vol power of madrigalian style seer11s to master to' the duke. Monteverdi was pos ume of canzonets for three voices in sibly disappointed in having been passed be dissolved into its elements and to 1584, his first book of madrigals in 1587, merge into opera and the, concertate over, but Pallavicino's promotion was and a collection of Madrigali spirittiau probably one of seniority. Monteverdi cantata. The last madrigalist could' from which only the bass part survives. have no successors. The first opera now headed the salary list of singers at Mantua at this time was a cultural how~ver, composer was destined through the the court, and was next in agency of his late operas written'in center that had been witness to more line for promotion. Venice to lay the foundation of the than a century of evolution of an indi Four years later, in 1599, Monteverdi musical-dramatic style for the next genous musical art. The frottola com married the court singer Claudia Cat two centuries.! posers Cara and Tromboncino were at taneo, who remained in servict:: to the tached to the Gonzaga court under Fran duke following her marriage. A month There has been fairly extensivere cesco II (1466-1519). It is significant after his marriage Monteverdi was called search on Monteverdi. English-language that the fruition of the madrigal under upon to accompany the duke to Spa, biographies are available by Leo Schrade Monteverdi took place in the same en Liege, Antwerp, and Brussels. Monte (Monteverdi: Creator of Modern Mtls1.c) , vironment that so stimulated its early verdi must have heard music in the Denis Arnold (Monteverdi), Hans Red development. It was in Mantua that French style and probably came into lich ( Claudio Monteverdi, translated from Monteverdi's third book of madrigals ap contact with musicians in the area. This the German by Kathleen Dale), and peared in 1592. This collection reflects trip also resulted in financial difficulties Henri Prunitres (The Life mId Work of a change over the first two books in an for the composer. In addition to his ex Claudio Mol1teverdi, translated from the increase in the use of recitative style. penses abroad he had to maintain his French in 1926). Extensive sections are The madrigals are I\ledicated to Vincen home in Italy. In 1601 Pallavicino died, devoted to the music of Monteverdi in zoo Shortly afterwards Monteverdi was and Monteverdi wrote a letter of appli Gustave Reese's Music in the Renais raised in rank from viol player to singer. cation for the position. In 1602 he was sallce. Manfred Bukofzer's Music in the Around 1595 he was placed at the head appointed music master to the duke and Baro~ile Era, Donald Grout's A Short of a group of musicians to accompany was now in full control of both church History of Opera, and Alfred Einstein's the duke to Hungary, where Vincenzo and court music. The Italian Madrigal. There is a sixteen- was to participate in the war against the In 1603 Monteverdi's fourth book of 12 THE CHORAL JOU.RNAL madrigals appeared. It was dedicated to morire," which also exists as a madrigal teen extra instrumentalists were hired. the Accadem.ia degli Intrepidi from the cycle in four sections (Book VI), and There were two organists and an as neighboring city of Ferrara. This pub with another text as Piamto della Ma sistant who trained the boys and the lication was so successful that there donna. younger priests in music. In spite of were reprints of it in 1605 and 1607. A Two years later, in 1610, there ap heavy duties in his new post, Monte fifth book of madrigals was also pub peared Monteverdi's first published col verdi continued to compose and publish lished in 1605. The inclusion of a con lection of church music since the motets secular music. His sixth book of madri tinuo part, though essential only to the of 1582 and the Madrigali spirituaU of gals, .although composed in Mantua, was last six of the compositions in this col 1583. Obviously Monteverdi would have published in Venice in 1614 with the lection, is significant of the change that composed music for· services at Santa title of his new position appearing on is to take place in the history of the Barbara in Mantua in the eight years he the front page of the collection. The madrigal. Harmony is to be an increas was chapel master there. He saw to it sixth book of madrigals contains seven ingly important element in these works. that every phase of his madrigal com teen compositions for five voices, and The classic scoring for five unaccom position appeared, in publication, but one Dialogo a. 7 (Presso un fi1tme tran panied voices now ceases to be the norm, there is no record of religious music quillo). Of the seventeen five-voice mad and Monteverdi experiments with scor published prior to 1610. This collection rigals ten belong to two cyclic laments: ing. The last madrigal in the collection, contains Missa in ulo te11l.pore, a poly Q1testi vaghi concenti, is scored for nine phonic Mass in the old style based on a voices, and five unspecified instruments motet of thE same name by Gombert, that perform two sinfonias. and the remarkable Vesp'ro della Beata Dissonance treatment in Monteverdi's Virgina da concerto. These compositions madrigals had been under attack by the are In volume XIV of the collected Oxfordm- theorist Artusi, whose point of view was works. derived from the rules of Netherlandish The Vespers consists of fourteen polyphony. Monteverdi made it clear that movements, the organization of which is Two Distinguished he was writing in a different style, discussed by Stephen Bonta in an article, which he called the second practice "Liturgical Problems in Monteverdi's Collections of (seconda prattica). In essence the second Marian Vespers," in the Journal of the Christmas Carols practice is one in which freedom in the American M1tsicological Society (Vol. 1, use of dissonance permits a more ex No.1, Spring 1967). Eight of the four For Mixed Choir pressive setting of the text. The explan teen 'sections are available in a recent ation given by Claudio's brother, Giulio performance edition by Denis· Stevens SPECIAL GET~ACQUAINTED Cesare Monteverdi, follows: published by Novello. Another publica OFFER tion of this work is cited in the list fol By first practice he understands the Oxford University Press is lowing the article. The Vespers is note one that turns on the perfection of the pleased to make the following worthy for the variety of styles of its half~price direc~ harmony, that is, the one that consid offer to choral sections and for the manner in which it ers the harmony not commanded but tors. is scored. One, two, and three solo commanding, not the servant, but the voices contrast with one another, with Use the coupon below to obtain mistress of the words. .. the instrumental accompaniment" and single copies for your reference By second practice, ... is the one with the choral settings for six, seven, library at half the published that considers harmony not command eight, and even ten voices - these last price. ing but commanded, and makes the divided into equal groups of five in the Quantity orders should be words the mistress of the harmony.2 Nisi Dominus. The instrumental group, placed with your regular dealer. in addition to the organ, at times re 1607 was a year of outstanding ar ,--- Christmas Collections --~..., tistic accomplishment and great personal quires violins, recorders, cornetti, trom tragedy in the life of Monteverdi. In bones, and 'cello or viol. o Carols for Choirs. 50 carols for con February of this year the opera L'Orfeo Monteverdi continued to serve the certs and services; the finest collection was produced at Mantua. In September Gonzagas until 1612. Duke Vincenzo of traditional and new carols. Edited died in February of that year and was and arranged by Reginald Jacques and his wife Claudia died. The first set of David Willcocks (conductor, Kings Scherzi m.usicali also appeared in this succeeded by his son Francesco. Monte College Choir and The London Bach year. The Scherzi 11lusicali contrast re verdi and his brother Giulio Cesare Choir). Softbound $1.80 markably with Monteverdi's madrigals. were both dismissed by Francesco in o Carols of Today. 17 new carols by They are short, light pieces in three July of that year. No explanation for the younger generation of British com parts that can be performed with or with the dismissal is available in documents posers; settings of authentic medieval out instruments. The upper two parts of the time. Monteverdi returned to Cre texts to truly contemporary (but not move mainly in thirds over a harmonic mona. In July of the following year the difficult) music. Most of them have bass. The following year Monteverdi chapel master of Saint Mark's in Venice been recorded. Softbound $2.95 produced a second opera, L'Arianna, and died. It is likely that Monteverdi was Please ~end me at 50% of the ptice shown above the carol collections I have marked. I under a ballet, Il ballo dell' mgrate. especially sought out for the position. stand these copies are not returnable. L'Orfeo, favola in 11l1lsica was the A letter dated July 16, 1613 was sent to sixth opera ever to be written and was the Venetian representative in Milan re Name _ questing references on Monteverdi. By the first opera produced for Mantua. Address _ L'Arianna, Monteverdi's second opera, August 19 of that year Monteverdi was was produced for the wedding celebra already established in this post in Venice. City, State, Zip _ tion of Duke Vincenzo's son Francesco. The musical establishment at Saint It was. performed with much success be Mark's was perhaps the largest in.Italy. OXFORD UNIVERSITY PRESS fore an audience of some 4000 people. There were available about thirty singers, Music Dept. C 200 Madison Avenue, New York, N.Y. 10016 Unfortunately, all that survives of this six instrumentalists, and the boys of the L ~ opera is the famous lament, "Lasciatemi choir school. On festival days about fif- SEPTEMBER-OCTOBER 1967 18 Lamento d'Ariarn.na in four sections and Cremona. Venice was relatively unaf;. ted if circumstances do not permit their Lagrime d'amante al sepolcro' elell'amata fected, although Monteverdi's only pub use. It is possible that'this was the Gloria in six sections. The poet Giambattista lication at this time was the second set performed in celebration of the end of Marini is the author of four poems in of Scherzi musicali for one and two voic the plague. Like the madrigal publications this collection. His poetry with its hid es in 1632. Monteverdi and Venice were of the time the works in this collection den meanings, poetic effects, and sensu stimulated to new activity by the arrival are scored for a variety of media - solo ality provided much to stimulate the in 1636 of the composer-singers Bene voices and choral ensembles, with con composer in setting the verses. detto Ferrari and Francesco Manelli. tinuo and sometimes other instruments. Monteverdi continued to compose for Monteverdi immediateJy procured their The instruments most used are two vio Mantua, possibly because there was not services for St. Mark's. lins, sometimes supplemented with violas yet an opportunity to write dramatic mu In 1637 an opera house was opened or trombones. sic for Venice. Commissions from Man':' with a performance of Maneli's Andro In 1643 Monteverdi spent about, six tua resulted in the ballet Tirsi and Clori meda. The theater was the S. Cassiano, months visiting around Cremona and in 1615. In spite of tempting offers to and since it was possible to buy tickets Mantua. He died shortly after his re induce Monteverdi to return to Mantua, of admission to the pit, it may be con turn to Venice. His obituary reported: he chose to remain in Venice. The de sidered' the first public opera house. cision was a fortunate one, for with the Monteverdi revived L'Arianna in 1639, ... the news of such a loss upset death of Vincenzo II, brother of Fran and in 1641 produced the operas Le nozze and turned all the city to sadness and cesco, there resulted a war of succession d'Enea can Lavinia and Il' ritorno mourning, and was accompanied not during which Mantua was sacked, and d'Ulisse in patria. In 1642, at the age of by singing from the choir of singers of St. Mark's, but by their tears and many of the Gonzaga treasures were seventy-five, ;Monteverdi produced at S. 4 destroyed. Mantua was never again the Cassiano the opera L'incoronazi01w de weeping. important cultural center it had been in Poppea. In the years following the plague After Monteverdi's death there was the sixteenth century. Although not di there was also published the eighth book published the collection of church music rectly involved in this war, Venice could of madrigals (1639') and the collection Messa a qUaJttro voci, et Salmi. in 1650, not isolate itself from the plague that of church music under the title Selva and the ninth book of madrigals Madri was brought into not:thern Italy by the morale e spiritttale (1640). gali ecanzonette a dtte e tre voci in 1651. troops. In August ,of 1630 the first evi The eighth book of madrigals is en There follows a listing of some per~ dence of contamination was apparent in titled Madrigali guerrieri e amorosi. Ii: formance editions of Monteverdi's music Venice, and the plague began to spread. is ,characterized by striking contrasts of for chamber and choral ensemble with Monteverdi lived to see an end '. to the medium and mood. Monteverdi explained volume indications for their location in plague, and on November 28, 1631 a his aims in the preface: the collected works. Mass by him was offered in thanksgiv I have reflected that the principal ing. The Gloria and Credo of this Mass SECULAR MUSIC passions of our music are three, name are supplemented with added parts for (Ja;nzonette for three voices (1584) (Col trombones. During the intervening years ly anger, moderation, and humility or lected Works, Vol. X) there appeared the seventh book of mad supplication ... and the very nature Qual si pno dir maggiore (Kraus) Eu of our voice indicates this in having ropean MaJdrigals, p.' 5, G. Schirmer . rigals in 1619, a Requiem Mass for Raggi dov'll il mio bene (Kraus) Euro Cosimo II de Medici in 1621, and Il com... high, low, and middle registers. The art of music also points clearly to these pean Madrigals, p. 7,' G. Schirmer battimento eli Tamcredie Clorinda., a Si come crescon alia terra (Zipper) secular oratorio, in 1624. three in its terms 'agitated,' 'soft,' and Marks Music Corp. The seventh book of madrigals is also 'moderate.' [concitato, molle, and tem 'Madrigals for five voices, Book I (1587) perato] In all the' works of former 14 THE CHORAL JOURNAL Works, Vol. VI) Lammento d'Arlanna (Redlich) (SSATB and continuo) 1. Lasciate mi mome Associated Music BLEND in CH LS UND Publishers 2. 0 teseo mio Schott & Co. 3. Dove e la fede Schott & Co. Factors Related to its Achievement - Vowels 4. Ahi che no par risponde Schott & Co. Lagrime'd'amante al sepolcro dell'amata (SSATB and continuo) (Randolph) The following article is based on ma G. Schirmer terial in the author's thesis, "Blend in LARRY WYATT 1. Incenerite spoglie, avara tombs. Choral Sound" which was completed in Larry Wyatt is the choral director at 2. Ditelo voi August, at North Texas State Uni Central Florida Junior College, Ocala, 3. Dara la notte 1966, 4. l\1a te racoglie versity, Denton, Texas. Advisor on the Florida where he has established a Com munity as well as a College Choir. He 5. 0 chiome d'o'r C. project was Dr. David McGuire. received his BYE degree from Murray 6. Dunque amate reliquie In undertaking this study, it was felt State University and his MM from North Madrigals, Book VII (1619) (Collected that there was a need for a systematic 'rexas State University at Denton, Texas. Works, Vol. VII) collection of ideas concerning blend in His series of articles will be of special Tu dormi? Ah crudo core (Smithers) interest to ACDA members since he con SATE, G. Schirmer choral sound. Many authorities discuss tacted many of them for opinions and Madrigals, Book VIII (1638) (Collected the subject, but their concepts of the statistics during his graduate study, with Works, Vol. VIII) term are very divergent. Th~se diver these articles being the result of that Hor che'l Ciel e la terra (Stevens) gent concepts lead to emphasis of vari work. (SSATTB, 2 vIns, cont.) Penn State Music·Series ous factors which are important to blend. 1. Hor che'l ciel e la terra e'l vento tace This emphasis in turn leads to many 2. Cosi sol d'una chiara fonte viva methods of achieving it. sponding to the questionnaire sixty-seven CHURCH MUSIC Analysis of the problem led to subor per cent preferred definition number one. Sacrae Cantiunculae for three voices dinate questions, or sub-problems, which .Twenty-two per cent -preferred definition (1583) (Collected Works, Vol. XIV) may be stated as follows: (I) What is number two and eleven per cent stated Lauda Sion, salvatorem Ricordi desired by the authorities in the way of that both definitions were correct. Angelus ad pastores Dessoff Choir Se blend? (2) What factors are considered The ess.ential difference in the two ries,' Mercury Music Cor,p. HOOie Christus natus est Dessoff to be important in achieving blend? (3) definitions is that the first recognizes Choir Series, Mercury Music Corp. What are the acoustical properties of the differences of tone qualities of indi Vespro della Beata Vergine (1610) (Col the factors that affect blend? (4) What vidual voices and without actually at lected Works, Vol. XIV) (stevens) are . the authorities' recomm,endations tempting to change the basic tone qual Novello concerning the achievement of blend in ity of the individual, seeks to mix it into Deus in adjutorium Dixit Dominus choral sound as it relates to each of the one sound. The second definition implies Laudate pueri various factors? The thesis is essentially that a uniform quality of tone within and Laetatus sum a compilation of virtually all material between voice sections is essential to Nisi Dominus written on the subject and a correlation blend in choral sound. Those who ascribe Lauda Jerusalem Ave maris stella of the opinions of many of the outstand to this definition of blend in choral Magnificat ing choral directors in the United States. sound, would probably attempt to change (Ghedini) Suivini-Zerboni, Associated The information concerning each of the the tone qualities of individual voices in Music Publishers factors is presented from three view order to achieve blend. Domine ad adiuvandum points where feasible: (1) published VOWELS There is almost unani- Nigra sum Lauda Jerusalem material written by choral musicians, mous agreement that one of the most Ave Maris Stella (2) Published material from scientific important factors, if not the most im Dixit Dominus sources, (3) Opinions of outstanding portant factor in the achievement of Sonata sopra Saneta Maria choral directors compiled from question choral blend is unity of vowel. The de o quam pulchra naire 'results. It is from chapter three sirability of homgeneity of vowel sound Magnificat "Factors Related to the Achievement of is stressed in virtually every discussion From the Motet Collection of G. C. Bian- chi (1620) (Collected Works, Vol. Blend" that the material for the follow of the achievement of blend. Coleman XVI) ing articles is drawn. states, It• •• blend of tone is largely de Christe adoramus te (Daniel Pinkham) The concept of blend in choral sound pendent upon the exact uniformity in the SSATB Boston: Row Music Co. is difficult to describe and define. Most shape of vowels. Not that one particu FOOTNOTES choral directors have a mental concep lar vowel-shape is right and another 1. Hans Redlich, Claudio Monteverdi tion of blend; the problem is finding ade wrong, but there must be a standard." (translated· by Kathleen Dale), OXford, quate words to express this concept. (1, pp. 57-58) 1952, p. 91. Most agree that blending refers to mix Further evidence of the importance of 2. .Oliver Strunk, Source Readings in ing of the voices. The difference of the uniformity of vowels in the achieve Mwic History, New York, Norton & Co., 1950, pp. 408-409. opinion is primarily in the degree to ment of choral blend is shown by the 3. Op. cit., p. 413. which the director mixes the voices in questionnaire answer: "Good blend is 4. Denis Arnold, Monteverdi, New York, achieving blend. achieved when ... the same vowel Ferrar-Strauss, 1963, p. 133. Basically, there are two definitions of sound is used within and between sec blend in choral sound to whic;h most au tions." Of the directors responding, '78 Dr. Lewis E. Whikehart, professor of thorities subscribe. (1) "The perfect per cent indicated that good blend is choral and church music at the Cincin fusion of the tone of a number of dif achieved when the same vowel sound is nati College-Conservatory, has had an article published - one of a series of ferent voices, whose various character us'ed within and between sections. six on "Chorale Techniques" - in the istics mix so as to result in one beau In another question the directors were "National Official Journal of· the Meth tiful sound." (1, p. 223). (2) "Blend asked to grade various factors according odist Church." He has composed numer refers to the uniformity of the quality of to importance in the achievement of blend ous choral works and is the founder and director of the Whikehart Chorale re tone within and between sections" (14, in choral sound. Of the directors respond cording group. p. 56). Of the fifty-nine directors re- ing to the question, 83 per cent rated SEPTEMBER-OCTOBER 1967 16 uniforrJ:lity of vowels as "very impor pitch that defines the vowel-sound ah'! The frequency given is in every case tant"; 17 per cent rated uniformity of The analysis of this vowel.:sound sung the center of a range of pitch within vowels as "important". No directors by the bass voice at once solves this which all partial tones are strengthened: rated uniformity of v.owels any lower problem for, us. It gives: this range i's sometimes considerable. than these values. Uniformity of vowels Order of The vowel sounds 00 and ee involved was rated as the most important .factor Partial Frequency Energy, % formants of very low pitch, accounting in the achievement of blend in choral 1 154 1 for the great difficulty in producing sound. 2 308 3 these vowels with good enunciation on A dictionary definition of a vowel is: 3 462 1 high notes. Notes with pitches above 4 616 1 "A speech sound uttered with voice or 5 772 12 that of the formant can have no partial whisper and characterized by the reson 6 924 66 tones in the range ,of the formant, thus ance from the vocal cavities" (12, p. 7 1,078 7 the appropriate frequency cannot be 2860). 8 1,232 7 evoked (15, p. 76). 9 1,386 1 According to Miller: "Vowels are Miller explains the process of singing speech sounds which can be continuous We see at once that the prominent a vowel. ly intoned, separated from the combina partial is fixed in pitch. This view 'is tions and noises by which they are made verified by exteI)ding the observations The jaws, tongue, and lips, trained into words" (8, p. 217). to other singers and other notes. Al by lifelong practice in speaking and I There has been much research into the ways there' is a strong partial in the singing, are set in the definite position acoustical properties of vowels. This neighborhood of the frequency. . ~ . for the vowel, and the mouth is thus knowledge is extremely desirable if one These results have been generally con tuned unconsciously to the tones char is ever going to attempt a beginning in fined by other observers using differ acteristic of that vowel. At the same the improvement of the voice. The fol ent methods of analysis, except that all time the vocal chords of the larynx lowing, facts concerning vowels have been the vowels seem to be characterized by are brought to the tension giving the definitely established: (1) any vowel is two prominent regions of pitch, the desired pitch. . .. When the air from characterized by the presence of a defin higher one ,being less important in the the lungs now passes through the lar ite group, or groups, of partials; (2) series of vowels to which Miller as ynx, a composite tone is generated, the partials that make up a certain char signed only one. A region of pitch in consisting of a fundamental of the giv acteristic group are much the same re which all partials are strengthened is en pitch accompanied by a long series, gardless of the fundamental 'frequency; called a formant, and we may say that perhaps twenty in number, of partials, (3) vowel sounds are produced by means for every vowel there are two for usually a low intensity. The particular of a "modulating" process consisting of mants of fixed pitch (15, pp. 73-75). partials in this series which are most shaping the mouth ,and phary;ngeal cavi nearly in unison with the vibrations ties so that the proper order and inten Richardson ascribes three formants proper to the air in the mouth cavity, sity of partials are developed by reson for vowel sounds and states that the fre are greatly strengthened by resonance, ant action (2, p. 157). quency ranges of these three formants and the resultant effect is the sound Two theories have been proposed in overlap for the various sound. The first which the ear identifies as the speci connection with the explanation of vowel or lowest formant (depending on the fied vowel sung- at the designated pitch sounds. They are called the fixed-pitch vowel) lies between 200-1200 cycles per (8, pp. 242-243). second: the second lies between 600 I theory and the relative-pitch theory. Recent evidence .indicates that there These two theories are discussed by 3500 cis; and the third between 1500 are at least five air cavities associated Wood: 4500 cis. Generally, the lowest frequen cy formant has 'the greatest amplitude, with voice production. These cavities When a given vowel sound is sung, the second formant next, and the third are forced into vibration; and if the na does the singer always emphasize the has the weakest. tural frequency of anyone cavity lies partial of a certain order - i.e., the Formant frequencies vary considerably near the natural frequency of one of the third, fourth" etc. - whatever its as do the relative amplitudes, for a:ny partials, the cavity vibrates and the par pitch, or does "he always emphasize a given sound from speaker to speaker, tial is strengthened. From the point' of fixed pitch whatever the order of the and to a lesser degree, with successive view of vowel enunciation, two of these corresponding partial may be? For in utterances of the same speaker (10, p. cavities are important, the mouth and stance, a soprano singing the vowel 214). pharynx; the remainder are effective in sound a as in 'father' emits a note of The following chart by Wood shows other modifications of quality which can which the following is an analysis ob the characteristic frequencies of the first be made not changing the vowel. The tained by D. C. Miller using his two formants of the vowel sounds. natural frequencies of the mouth and phonodeik: pharynx are altered by changin'g their TABLE IV volume and the width of the aperture by Pattial Frequency Energy, % Characteristic Frequencies of the 1 308 9 movements of the tongue and lips. In Vowel-Sounds summary, the vocal cords determine the 2 616 6 (Reproduced from The Physics Of Music) 3 924 69 (15, pp. 242-253) pitch of a note, the mouth and pharynx 4 1,232 8 determine the vowel, and the remaining 5 1,540 5 Speech Low High 6 1,848 1 Sound Frequency Frequency cavities determine the musical quality 7 2,156 u (pool) 400 800 (15, pp. 76-77). 8 2,464 u (put) 475 1,000 9 2,772 o (tone) 500 850 Reco11lQnendation-s Concenz.i'llg Vowels If, now, a bass voice sings the same a (talk) 600 950 In attempting to achieve uniformity o (ton) 700 1,150 vowel-sound, of course at a different a (father) 825 1,200 of vowels, the first step is to decide on pitch, will the prominent partial be the a (tap) 750 1,800 what vowel sound is desired. Since each partial of the same order as that of e (tim) 550 1,900 vowel has many shadings of pronuncia the soprano, or the partial nearest to or (port) 500 1,500 tion and quality, there can be no one a (tape) 550 2,100 the same pitch? Is it the relative pitch i (tip) 450 2,200 correct interpretation ,md pronunciation of the strong partial or its absolute 3 (team) 375 2,400 for any given vowel. The criteria must 16 THE CHORAL JOURNAL be the dramatic requirements inherent The singer must be alert and he must terial in attempting to obtain blend. in the music. think the vowel at all times. The di Table V shows the rehearsal techniques One must have a clear mental concept rector can help by demonstrating how used for obtaining blend in choral sound. and a mechanical technique for the pro a vowel can gradually change while one The question was: In order to obtain duction of vowels and consonants; how is singing it. "Ah," for example, can blend do you use ... ever, the emphasis should always be on drift into "uh." TABLE V expression. Freedom of tone production It is important for choirs to use their Rehearsal Materials of 59 Directors should be sought, but good work on lips and tongue properly since facial ex for Obtaining Blend vowels is not an end in ifself. It is a pression plays a large part in producing Material % of Directors Using technique for expressing the emotional the proper vowel. Obviously, 'the mouth Concert Performance Material...... 9 must be open comfortably when singing Vocalises 1 content of the music (6, p. 155). Both 89 Most authorities agree that the choral "ah", but to sing "ee" in the same posi Other (Diction Exercises) 1 ensemble should be able to sing differ tion would distort the tone because it is ent types of literature and that different unnatural for the "ee" vowel. This should Fred Waring has developed a method types of vowel sounds are required for be demonstrated to the singers. At the for achieving uniformity of vowels. the different moods of the music. Morris same time they should be shown the To achieve absolute clarity, expresses the need for the choral con correct lip position for producing all the we have developed a method of enun ductor to understand this: vowel sounds (4, p. 48). ciation, the essence of which is a rough and practical system of phonetics. We A repertoire of poetic imagery for Further information concerning the break down each word into its simp the provocation of vowel coloring physiology of the production of vowels lest units of sound. Each of these units should be standard equipment for the comes from Delattre: "The vocal tract is called a "tone syllable". .. Each choral conductor. As an aid to achiev varies in shape froni that of a uniform tone syllable should be pronounced ing a higher degree of homogeneity pipe (same section area throughout) with exaggerated distinctness. After of vowel sounds this technique should closed at one end (the glottis) and open discipline is achieved, this exaggera not be overlooked. Such descriptions at the other (the lips). The more the tion should be tempered and refined of vowel quality as light or heavy, vocal tract approximates the shape of a by good taste, and the mechanics of happy or sad, dark or bright, colorful uniform pipe, the more the high for the method will not then be apparent or plain, and soft or hard, are some mants are favored by a resonance, and in the actual performance. The group times quite effective (9, pp. 23-24). inversely (3, p. 6). Soft singing is suggested as a means feeling for the true sounds of each Many writers stress the importance of for achieving uniformity of vowels. Fuhr word will, however, have been estab imitation in achieving uniformity of suggests this approach: lished and unison pronunciation will vowels. The conductor is suggested as have become a subconscious habit (11, the model in many cases. Morris writes: ... let it be the aim to preserve p.3). a uniform, soft quality which prevents Waring further explains his system The most efficient method of ap the emergence of harsh, ungraceful through the following rule concerning proaching homogeneity of vowel pro tones, which put a premium upon pur vowels. nunciation is that of imitation. The im ity and ease. This does not mean, how portance of vowel sounds and their ever, that if homogeneity of quality is Be conscious of all the vowel homogeneous conceptions in determin preserved as a fundamental objective, sounds, and sing them with what seems ing tone quality demands that the the singers will be able to achieve like exaggerated distinctness. .. Be choral conductor have a thorough mellow tone color and ease even in the fore a choral group can achieve real knowledge of word pronunciations and more brilliant vowel forms which are clarity of enunciation, the singers must be able to demonstrate correct vowel so vital to the tonal color scheme ... be made aware of all the sounds in sounds to the chorus (9, p. 23). Most of the objectionable vowel qual each word. Rule I (above) deals with Helvey stresses the responsibility of ity encountered in choral groups is the sounds of the vowels, a, e, i, 0, u; the conductor for establishing the cor the result of oversinging or of muscti and also with wand y which have rect vowel and adds that the singers lar tension. Insistence upon a soft dy vowel sounds. should be taught to listen and think of namic level will help enormously to To help the group become conscious vowel production. ward guiding both singers and direct of all the vowel sounds in a word or ors toward the desired ends (5, p. 74). syllable, and particularly in dipthongs The production of the vowel by a (combinations of two vowel sounds) choir is dependent upon the mental Eisenkrammer also stresses singing the and tripthongs (combinations of three conception of the vowel on the part of same vowel softly or lightly. Early vowel sounds), tone-syllables are the director. He must determine the church music is excellent for this be spelled phonetically as in the examples color and shade of the vowel that fits cause the harmony is simple. The singers below. Not all the shades of difference the particular mood or expressive con are less inclined to strive for effect and in the single vowel sounds can be in tent of the music. It is the uniformity more inclined to seek clearer vowels to dicated accurately in the tone-syllable of the vowel on the part of all mem blend this kind of music (4, p. 48). spelling without impractical complex bers of the choir that determines the Helvey found that: "Most writers ity; the "spelling" of vowel sounds is tone color or quality. Again, this is seem to' agree, however, that the study that of common usage. the responsibility of the conductor. In of the vowel should evolve from the mu working with untrained singel's, it is sic under study and not from meaning Dipthongs: important not only to develop a uni less exercises of vocal technique. It is a IS ay-ee or eh-i depending form color of the vowel if the choral important ... that all exercises stem on tempo group is to becQme an expressive unit. from, or lead to, the interpretation of i is ah-ee or ah-i The teaching of intent listening and the actual music under study" (7, p. 21). o is oh-oo thinking of vowel production to the Questionnaire results from this study, u IS ee-oo choir members is very important in the while not specifically dealing with the ou or ow is ah-oo accomplishment of proper vowel pro vowel, indicated most directors use both oy or oi is aw-ee or aw-i* duction and tone quality (7, pp. 20-21). vocalises and concert performance ma- 'The sound designate<;l by aw is ac- SEPTEMBER-OCTOBER 1967 17 tually a sound between aw and short o. In our publication it is .consistent ly written aw for convenience. Tripthongs: Oat's Da Kine From do Haht woe is oo-oh-oo yea is ee-ay-ee SHIGERU HOTOKE wide is oo-ah~eed Choral Director, Kailua High School (Heart) yoke is ee-oh-ook Kailua, Hawaii Example of the application of Rule I: J J It is with a great deal of .pride and set up an exciting itinerary which even satisfaction that I write this report, for included golf for the director. W.rr. you thrrr. Jil'hrn thry the' purpose of this cultural exchange was. We performed at the large Baptist oO-l/nr:•.c~-oo '-n~Ar • noo·e?] t}ay-ee fulfilled beyond expectations. Church, at the Dunes for the Rotary It ,began when the Kailua High School and Kiwanis, the Victoria Country Club, Madrigal Singers hosted' the Ramona and the Riverside City College for the High 'School Madrigals of Riverside, Cal community. We also performed at Dis cru • cl • f1rd my Lord? ifornia.There were twenty-tj:lree singers, neyland, Knotts Berry Farm and the Aroo·• .ri • fan-ted ~a!l·tII !tord' director Mr. Ben Bollinger, his wife Lois, Universal Studios in Hollywood W1h:ere principal Mr. Gerould Esgate, his wife we were televised on Channel 2, Los Anc and six chaperones. We tried to share geles. The concert waS so well received ·Wh in tone-syllable spelling always the greatest asset we have in Hawaii we rated a red carpet tour of the studios take the sound of hoo, as hoo-ah-ee the spirit of Aloha - that feeling of wel and an invitation to return. We also gave (why), hoo-aht (what), hoo-ehr 'come, of love, of understanding and good concerts at Idyllwild ISchool of Music and (where). The initial syllable hoo will. Arts (University of Southern California), should be enunciated distinctly and The arrival at the airport was ver,y and at the world famous T,ramway Res as quickly as possible; festive as our students outdid the tradi ta:urant in Palm Springs. The aerial tional Hawaiian welcome with posters, tramway ascends almost 10,000 feet to Careful attention to .vowel sounds handshakes and kisses. The Ramona the top of Mt. Jacinto. The temperature High School students were placed in our varies from 115 degrees at the base of not only develop clarity of enunciation, homes and were conducted through their the mountain to a cool 60 degrees ,at the but also blends and unifies the choral busy itinerary by their hosts. Their con top. The scenery from the top is unbe tone. Since the vowels and a few of certs were very well received by all who lievably beautiful. We gave two concerts the consonants are the only sounds heard them. They were heard by our there and were treated royally. We even Governor, the Honorable John A. Burns, made the front cover of LIFE Magazine that can be sustained, legato singing and the entire legislature, as well as the (The Palm Springs Life). All of the con will obviously benefit from a conscious City Council; they were heard in schools, certs thus far were received withstand ness of all the vo:wel sounds in each Clhurches, hospitals, on the island of ing ovations. This fact gave our students syllable and from practice in singing Maui, ,and in our own community. and hosts satisfaction and helped to There is magic in music and young maintain a high level of morale. We felt each of these sounds (11, p. 3-4). people. In no time at all, the entire so grateful and full of warm feelings for In summary, there is almost unani group from Riverside and the people of all of the people of California. our state had attuned to a beautiful har Our parting from the Ramona High mous agreement that one of the most im mony. We shared laughter ,and joys and School campus was a truly sad one. It portant factors, if not the most impor tears; we shared our way of life through reminded me of the parting in Honolulu. tant factor in the achievement of choral music and fellowship. The day of de We boarded the Continental Trailways blend is unity of vowel sounds_ Vowels parture was a very emotional setting. bus for the second half of our tour. So Still 17here was that satisfying feeling far everything progressed beautifully., are speech sounds which can be contin that life-long friendship among people Our hearts were full of thankfulness and uously intoned, separted from the com has been established. love. One wonders 'how is it ,possible that binations and noises by which.they are In the meantime,we finally raised the there could be wars, hate, and strife in made into words. Two theories proposed necessary funds of some seven thousand 17rns world when so much love and un dollars through singing and recordings. derstanding could be tapped from people in connection with the acoustical explan On June 18, our turn to return the visit to people sharing. Perhaps we would not ation of vowel sounds are the fixed pitch arrived. Our itinerary was firmly estab have heard of Adolph, Benito, Tojo, Ni. theory and the relative pitch theory. Au lished. This included a week in Southern kita if they could have had the kind of thorities recommend that the conductor California, two days in San' Francisco, experience that we just encountered. and four days in Vancouver, B.C. We continued on our eight-hour jour should have a concept of the correct Our arrival in Los Angeles was a great ney to San Francisco. The bus was air vowel according to the style and mood reunion with big banners of welcome, conditioned and equipped with all of the of the music being performed. Imitation, handshakes, leis, and the excitement of comforts of home '-- toilet, lounge, and soft or light singing, and a conscious meeting our friends again. It was evi reclining seats. The bus driver was' a dent that Mr. Ben Bollinger, director of courteous and wonderful .person. He awareness of the vowel sounds, are sug the Ramona High School Madrigals even stopped to buy the whole group a gested as means to achieving a unified worked very hard as everything was case of Coca~Cola. We drove to San Fran vowel sound. planned to the minutest detail. He had cisco in air-conditioned comfort through BmLIOGRAPHY '111I111I1111111111I11I11I11I111111I1111I11I11111111I11I11I11I11111111111111I1111I1111I1111111111I11I11I11I11I111111111111I111I11I1/1111I11I111/1/1/11I11I1/111111I11I1/111/11I 1. Coleman, Henry, Choral Technique 6. Hanley, Lawrence, "The College Di peets of Sound, New York, Elsevier Pub and Interpretation, London, University vision," Southwestern Musician - Texas lishing Company, 1953. Press, 1932. Music Educator, (April, 1957), 19-11. 11. Waring, Fred, Tone Syllables, New 2. Culver, Charles A., Musical Aeoustics, 7. Helvey, Kenneth W., A Study of the York, Shawnee Press, Inc., 1948 New York, The Blakiston Co., 3rd edi Metho(ls of Choral Tone, Production of 12. Webster's New International Dic tion, 1951. Selected Choral Directors, UnpUblished tionary, 2nd. Edition, Springfield, Massa 3. Delattre, Pierre, "Vowel Color and Masters Thesis,' University of Southern chusetts, G.M.C. Merriam Co., 1950. ' Voice Quality," National Association of California, Los Angeles, 1952. 13. Williamson, John F., "How to Clas Teachers of Singing Bulletin, Vol. XX 8. Miller, Clarence Dayton, The Science sify Voices," The Etude, LXVIII (June, (October, 1958), 4. of Musical Sounds, New York, The Mac 1950), 23, 51. 4. Eisenkramer, Henry, "Techniques in Millian Company, 1937. 14. Wilson, Harry Robert, Artistic Voice Blending," Music Educators Jour 9. Morris, Paul L., A Study of Desir Choral Singing, New York, G. Schirmer, nal, 35-4 (February, 1949), 48. able Choral Tone With Emphasis on the Inc., 1959. 5. Fuhr, Hayes M., Fundamentals .of FUllction of Blending, Unpublished Mas 15. Wood, Alexander, The Physics of Choral Expression, Lincoln, Nebraska, ters T,hesis, Ohio State University, 195!. Music, London, Ascherberg, Hopwood University of Nebraska Press, 1944. 10. Richardson, Hugh S." Technical As- and Crew, Ltd., 1944. 18 THE CHORAL JOURNAL the desert and low lands. When we final We had all, changed into our matching iastic audience who honored us with a ly gof to San Francisco, we were greeted muumuus and aloha shirts to meet our standing ovation. We were thrilled be by freezing' weather. 'We' had left SoutJhr new hosts from Canada, The South Burn yond words and thanked the Lord for ern 'California's dry 90 to 100 degree aby Men's Club and the Royal Canadian all of the blessings we received. The temperature for a cold, humid 50 degrees. Mounted Police. We had expected a wel mayor presented us with a plaque and We almost froze to death getting our come from the police in scarlet uniforms each of our youngsters received a medal luggage out of the bottom compartment riding horses and Rin Tin Tin beside lion of the Canadian Centennial. This of the bus. ·That evening we all stayed them. When we arrived at the border, was the birthday of Canada, like our 4th in the warm :hotel and watched television. we were a little disappointed for we of July. We were also honored by the It was a good opportunity for the girls were met by an RCMP Escort in Brown presence of four of our faculty members to set their hair and for the director to Khakis, driving a black and white Pon from Kailua Higill who happened to be give haircuts to boys who need them. tiac with a red light on the top of the at Bellingham, Washington, only 30 miles There at the Cecil Hotel in the heart of car. The Border Patrol had been notified away from the border. Sgt. Brown final town, we were again blessed, for we dis earlier of our arrival This expedited our ly donned his scarlet uniform with sil covered the most wonderful hotel mana crossing into Canada; besides we had ver spurs to the delight of all of us from gerI have ever met. He took our entire an escort who said, "Follow me." We Hawaii. He was the Master of Cere group in like one big happy family. He followed the black and white Pontiac monies for the concert. The following stayed with us day and night and showed with the red bubble on top for a few evening was July 1st, Canada's birthday, 'us.the way around town - the cable cars, miles. Then we were' met by anothe,r and we again performed for a large au Chinatown, Hip,pie town, Fisherman's escort who told us that we were to follow dience; many of them there for the sec Wharf, etc. He even transported all of him just around the corner. We drove ond time. The response again was tre our heavy ,musical instruments in his for an hour or so' before' all of us began mendous. We were then offered financial Cadillac from place to place. We per to wonder at the very long corners they assistance and an opportunity to sing at formed for some 1,500 people at the have in Canada. We found out then that Expo '67 in Montreal. Unfortunately our world-famous Union Square, and the the escort was lost! (RCMP get lost???) time schedule did not permit this. plush Mark Hopkins Hotel. We were also By this time our youngsters were tired The follOWing, day, Sunday, July 2nd, televised on the newscast in San Fran and almost '''slap~happy''. We were on was the day of departing. We sang at cisco. The newspapers and radios were the bus for over 24 hours! They kept the 10 o'clock service at the South Burn full of our visit to San Francisco. Wihat asking me if there truly was a Sgt. Don aby United Church. At 3 o'clock we met a wonderful day of rest and, recreation Brown of the RCMP, or was it a crank at the airport, sad to leave, but happy to we had there. The free dinners at the whom I had met in Honolulu at a con be going home, especially knowing that Mark Hopkins, Joe Dimaggio's in Fish vention. I began to feel the anxiety as life-long friendships had been made with erman's Wharf, the Webb Town House, I feared the disappointment that might people from so far. away. All of us were the cable car ride, the cold weather in arise on this last portion of our tour. So invited and urged to come back again. San Francisco, the warm hotel and gra far everything had emerged so magni Our flight home was smooth and full cious manager ,all of these I'm sure ficently that it miglht be a let down in of excitement at the prospect of meeting will be remembered for a lifetime by our Canada, I thought. No one knew a soul our loved ones and to relate our most youngsters. This was indeed a new and here and this included the director. wonderful experiences. We were sad, too, different experience for many in our What are ,the people of Canada like? to leave so many wonderful people from group as there were some who had never Will they be warm and friendly toward Riverside, Palm Springs, San Francisco, stayed in a hotel in their lives. What an our youngsters? They had never heard and South Burnaby, B.C. adjustment our students had to make, us sing or perform except for Sgt. Brown 'We arrived home on schedule and dis from being hosted one or two to a fam who came to Hawaii on a Police Conven embarked at the familiar Honolulu In ily in Riverside to a :hotel and chaper tion at the Hawaiian Village. It was on ternational Airport. There the most im ones to contend With. his word alone that we were to be the portant and si,gnificant thing of the '!Ihe following evening we departed for guests of the South Burnaby Men's Club. whole trip happened. A boy in our group the longest bus ride for many of us. To top it all I could not even remember came up to me with tears in his eyes, Scheduled over 24 hours to Vancouver, what Sgt. Brown looked like. These and weeping unashamedly, shook my hand B.C., we boarded the same bus on which many more questions passed through my and thanked me for giving him the op we had arrived. There was a different mind, and my concern became greater portunity to experience something he had driver who was just as nice as the first, with anxiety. never dreamed of. This is the boy that In 'fact, we :had two more drivers before We were then escorted by a third had never left the iSlands, never slept reaching our destination. Our first 12 RCMP who also got lost. We stopped at in a hotel; never learned to use the knife hours on the bus was an experience we a corner and had some i,ce cream and and fork at a dinner table, never lived will all remember. This was certainly an waited for further communication from in a home besides his own, never saw unexpected 'Surprise. The bus was air Sgt. Brown. We finally got through and snow. A boy who comes from a family conditioned and in order to switch it to found out we were only three blocks on welfare; a boy who had never experi heat, it required a special wrench that away from the 'South Burnaby Men's enced the kindness of strangers from controlled the unit in the rear engine Clubhouse where all of our hosts were afar. This boy thanked me for the ex compartment. Of course this had to be waiting for us. We met Sgt. Brown with perience, for giving him courage, confi done at a large depot only twelve hours a loud "Hello Sgt. Brown!" dence and a sense of caring, for opening away. Going over the highlands and the Our next two days were most wonder a new horizon in his life for the future. mountains of Oregon at night was an ful days; days we will always remember. This incident made me feel that this experience we now can laugh about, but Total strangers taking 'in our youngsters cultural exchange tour was well worth during our 12 or so hours to Portland like their own, the warm hospitality, the all the effort we put into it. I was over we really froze even with the air-condi kindness shown to us - the spirit of whelmed with gratitude that one person tioner off. We hardly slept at all. We Aloha existed there in Canada! Our had learned and grown another inch, for had breakfast in Portland while the bus youngsters were hosted individually in who knows what leadershi,p might emerge was sent to the shop for correction in private homes and were royally enter from this one boy? Perhaps we are mak the heating department. We also found tained. Some went flying, horseback rid ing the best use of a life and spending out then that we were some 6 hours ing, drove up the mountains to see and it on something that ,outlasts it. Yes, ahead of schedule, so we decided to stop play in the snow for the first time, ate Dat's Da Kine From Da Haht! to: at Seattle so that our youngsters could cherries, apples, and peaches that grew get a chance to see the former World's in the back yards. We visited most of Fair site. We had a wonderful 4 hour the interesting parks and museums of BRODT MUSIC CO. FOUNDER DIES visit at the Fair grounds. All the shops, Vancouver and surrounding areas. I was , We regretfully report the recent death rides, Space Needle, fountains, etc. are most grateful to the Don Browns, Mr. of Cecil D. Brodt, founder of Brodt Mu still in operation and thousands come to and Mrs. Brown and five wonderful chil sic Company of Charlotte, North Caro visit daily. The warm sun and beautiful dren who graciously took me into their lina which occurred on Thursday, Au landscape were certainly welcome chang home. The third day was the night of gust 11. A staunch supporter of choral es from the previous night. the big concert at the beautiful and mod music in the school, church and commun We boarded the bus again on our way ern Simon Fraser University Theatre. ity, Mr. Brodt was interested in ACDA to the Canadian Border. This time the Again I was concerned about the rece.p as an Industry Associate member and weather was very warm, 'in fact, hot. We tion we might receive at the concert, advertiser as well as a long ,time friend really could have used the air-conditioner for I had heard that Vancouver audi of many afoul' members, who join us in in the' bus. The'bus was like an oven ences were cold. To our delight we sang offering sincerest sympathy to Mrs. and we roasted. for a packed house of the most enthus- Brodt and the family. SEPTEMBER-OCTOBER 1967 19 SACRED and SECULAR CHO L MUSIC FRANK TIRRO One of the common misconceptions lose Romantic sacred songs, Classic still held by' many respected musicians masses, Baroque cantatas and oratorios, and music critics is the notion that there Renaissance parody masses, and on and are two distinct styles of choral music, on. And the practice of identical styles sacred and secular. The adherents to for sacred and secular music did not this belief contend that this has always begin in the Renaissanc~, it was most been the case in Western music, and likely present from the beginning of the FRANK TIRRO therefore they see no reason for change Christian Church. Frank Tirro, composer of the Ameri-. at this time. They then argue that jazz, Recent historical research supports can Jazz Mass, is Chairman of the Music a style that to them is obviously secular, the view that the music of the Christian Department of the Laboratory Schools, University of Chicago. Mr. Tirro re is for this reason inappropriate for the Church originated from three primary ceived his Bachelor of Music Education setting of a sacred text. sources: the music of the Jewish Syn degree from the University of Nebraska Even though the origins of many of. ogogue, the music of the Near East, and his Master of Music in Theory and the elements of jazz can be traced to, and the popular idiom of the day. Saint Composition degree from Northwestern University. He has several published Negro Gospel Singing, it seems beside Paul admonishes the Colossians (III, compositions and articles; he has been the point to justify jazz in this manner 16) to teach one another "in psalms and the recipient of several prizes, commis as being legitimate for sacred use. The hymns and spiritual songs," and although sions, grants and scholarships; a.nd he most convincing argument remains that documentary evidence of this early sac has been.invited to speak at several uni versities. His pevformance background until the twentieth century, there never red music is lacking, we do have evi is varied and includes both symphonic was a sacred choral style distinct from dence of the existence of many varieties and jazz, choral and, instrumental. He is the secular style of the day. And if one of Christian chant before the ninth, cen currently engaged in doctoral studies in observes what is being performed today, tury, the time when Charlemagne stan Musicology at the University of Chicago. one 'cannot help but conclude that the dardized Christian practice. Scholars twentieth century too ha~ no special generally agree that it was the regional who did bear the Lord: through you, style for sacred music. The argument music, the secular folk music, which o Mary, let grace be given. .." The of those who maintain that there is a changed the character of the chant in Triplum, however, sings of love: "When dichotomy is more than faulty, it is each region and gave each its individ I see the summer season returning and unfounded. uality. Before Charlemagne, there were all the little birds make the woods re There have been composers who wrote at least the separate traditions of Galli sound, then I weep and sigh...." Of primarily sacred music, and there have can, Mozarabic, Ambrosian, Old Roman, course it is unlikely that both texts been composers who specialized in the and Gregorian Chants coexisting. were sung at the same time in a wor composition of secular music; but when From the twelfth century, we have ship service. But when the piece was one composer wrote both varieties, Pal some of our earliest extant documents performed in oJ;le context, it was sacred; estrina included, the style did not change of secular music, the song books of the when performed in the other, it was because of the nature of the text. Even troubadours. Compare the notation of a secular. The style was obviously the during the Baroque period, when the troubadour song with contemporaty same for both uses because the music doctrine of the affects was believed and notation. Without the· presence of the is the same. Only the text differentiates practiced, we find Bach composing a text, it is a rare piece that'can be posi the function. Coffee Cantata in a style identical to tively distinguished because of its musi Music itself is neither sacred nor sec that of his other sacred solo cantatas. cal characteristics. ular; it is only interesting or dull, poly The eighteenth and nineteenth centuries Perhaps nowhere is the lack of dif phonic or monophonic, accompanied or witnessed the same phenomenon. Haydn, ferences more certainly demonstrated a cappella, and so on. If this is true, Mozart, Beethoven, and Verdi all wrote than in the motets of the thirteenth cen and I contend that it is, then one does religious works in operatic style. tury. In the same work, one finds both not commit sacrilege by writing liturgi Moving back to the Renaissance, at sacred and secular texts! The Motetus cal jazz. Rather, one should only be vul tempt to distinguish sacred Lasso and of a three-part composition is often nerable to censure if he has written bad secular Lasso or sacred Josquin from texted in Latin with a sacred poem, and music, not jazz music, or twelve-tone secular Josquin without the aid of the the Triplum might at the same time be music, or electronie music. If the music text. You will find that one style pre texted in French with secular words. is boring, then it is not fit for liturgical vails for both types of composition. Also, An example from the MontpelIier Codex, purposes, but neither is it fit for any there is a tradition of secular songs be the motet Qua.not voi revenir - Virgo other purpose. ing intentionally utilized with religious H ec di,es 1, might serve to illustrate the If a composer is familiar with the words for musical or extramusical pur point. It is not exceptional. The Tenor traditions of a worship service, let us poses. Luther was outspoken about us is constructed by setting the Gregorian say a Christian service, and if that com ing secular melodies as chorale tunes, melody, Hec dies (This is the day poser is familiar with the traditions of because he did not see why "the devil which the Lord has made), in modal a style of music, let us say jazz, then should have all the good tunes." rhythm. The motetus, Virgo, sings of it would seem most reasonable to assume Were we to exorcise our sacred reper the Virgin Mary and says, "Virgin of that were he to compose music for this toire of all its secular elements, we would virgins, light of lights, restorer of men, worship service in the jazz style,he 20 THE CHORAL JOURNAL OHBOACDA HOLDS ENTHUSIASTIC CLINIC The first American Choral Directors organized and directed th.ree reading ses Association state convention was held sions organized by historical periods. July 9-12 at Baldwin Wallace College. Over 20 other choral directors served as Maurice Casey was general chairman for panelists and a select 70 voice high school the event Which had over 80 choral di choir was used for demonstration each rectors registered for the sessions. The day. Humanities Institution at Baldwin Wal Evening activities included perform lace directed by N eille Shoemaker as ances by the Rocky River Madrigal sisted in obtaining clinicians. Singers and the Oberlin Community State ACDA President Ernest L. Hisey Chamber Singers. Guests who spoke at from Avon Lake announced that Ohio the concluding banquet were Harvey membership had doubled since April. Maier, University of Southern Mississippi, There are chairmen in all sixteen dis National ACDA Treasurer; Calvin Rog tricts and five regional chairmen. The ers, State President, and Carl Rinehart, regional chairmen are (N.E.) Richard outgoing president of MENC Western Whitmore, North Olmstead; (N.W.) John Division. Van Nice, Findley College; (E.C.) Nan cey Twitchell, Mansfield; (S.C.) George E. Wilson, Wilmington; and (S.W.) Lawrence Tagg, University of Dayton. The officers met to draw a state con stitution which will be issued to the mem bership for a vote in October. Five re gional one day clinics are planned in the Checking the Conference Schedule: fall. They will provide intensified study standing-MaUlice Casey, Ohio State of specific areas, ty.pes or periods of Clinic Chairman; seated-Ernest L. choral music. An annual summer con Hisey, Avon Lake, Ohio ACDA State vention clinic on the choral art is Chairman. planned. Upon approval of the constitu tion an election of officers will be held in the spring. 1II111111111111111111111111111111111111111111111111111111111111111111111111111111111i Topics included for study at the July meeting were "Philosophy of Choral would be expressing his creative gifts Tone", "Church Music Program and in a manner most natural for himself Recruiting," "Building a School Choral and most appropriate for his contribu Department," "Vocal Pedagogy," "In Left: Calvin Rogers, State President tion to this worship service. tonation and Rhythm Problems," and OMEA, Ashland College; rig'ht: Carl "Developing a High School Choral Tone." The choral director is actually not Rinehart, ontgoing President of Burton Garlinghouse attended one full Western Division MENC, Tucson, Ariz. faced with the decision of whether jazz day as guest clinician. Maurice Casey is appropriate or is not, for he can as sume that it is. All styles are appropriate. His responsibility is to decide whether each individual piece he programs, what ever its style, meets his musical and ar tistic standards. He might ask, "Is the work unified into an artistic whole, or is it the pasting together of unrelated parts? Does it meet the demands of func tion and at the same time exceed those demands? Does the composer display talent and sincerity, and 'has he exer cised skill and taste? Are the musical materials original, or is this just another Ohio ACDA Clinic Banquet. cheap imitation? Does this work com ACDAj Harvey Maier, University of municate a sense of beauty arid a sense Southern Mississippi, National ACDA Left to right: Byron Griest, Massillon, Treasurer; Ernest Hisey, Avon Lake, of immediacy? North-Central Division Chairman Ohio ACDA Chairman. In the 1960's, when the ecumenical spirit is building bridges and gates be tween faiths and peoples, it is at the same time creating an awareness that there is a danger in a compartmentali zation of sacred and secular living. Per haps some people live in one or the other style, but music does not. Jazz ,has the potential for creating great works. When talent in composition is matched with talent in performance, then our music and our lives will not be 'slan dered but enriched. :-: FOOTNOTE 1. Yvonne Rokseth, ed. Polyphonies du XIlle siec1e; Ie manuscrit H 196 de la Faculte de Medecine de Montpellier (Paris: L'Oiseau Lyre, 1935-39), I, 80v and 81r; II, p. 111. SEPTEMBER-OCTOBER 1967 21 but perhaps in some instances, just as strong. "Composing," Mr. Britten said, "is like driving down a foggy road to ward a house. Slowly you see more de BENJAMIN BRITTEN'S tails of the house ... the color of the slates' and bricks, the shape of the win dows. The notes are the bricks and the mortar of the house." The details of his WILLIAM W. LEMONDS musical language truly become bricks of Department of Music great invention and technical mastery Emory University and his charming delight in the desire to communicate becomes the mortar. He is literally one of the most 'pro When Benjamin Britten accepted the 'music which may inspire them or com fessional musicians of the 20th century: first Aspen Humanities Award on July fort them ... touch thein, or entertain a master craftsman in the understanding 31 in 1964, the event climaxed a world them; even educate them ... directly of the mediums which create music; an wide quest for "the individual anywhere and with intention."z accomplished pianist, a conductor, es in the world judged to have made the In the past few years Britten has been pecially of his own works, and certainly greatest contribution to the advancement the recipient of some of the foremost one of the master lyricists England has of the humanities." The award was being prizes and awards that the world and produced since the time of Henry Pur made "in the belief that man's under particularly the United States has had to cell, with whom he has often been linked standing of himself ... must rapidly offer. He has compQsed more than 70 as one of the two greatest musicodrama attain new heights of expression. The major works, including 12 operas, sev tists of native birth that England has Aspen Award is designed to recognize eral symphonies, and choral works, con produced. In his works, he has been those creative persons who are contrib certos, ,and sonatas. Certainly no major drawn to the Bible, the poetry of John uting most to the clarification of the in work by any composer has r~ceived such Donne, Shelley, Tennyson, and the con dividual's role in life and his relation unanimous acclaim and almost instan temporary works of Edith Sitwell and ship to society." taneous popularity as has his War Re W. H. Auden. The classicism of Shake After nine months of diligent study qltiem, which had its Southeastern pre speare has not eluded his interest for and perusal of the' contributions made by miere at Emory University on May 11, texts, and hence the recognition of the leaders in various areas of the intellect 1965, followed by a second performance strength and brilliant choice that he has ual, academic, and cultural fields of life on May 13 as a Memorial Concert in shown in the selecting of the poetry of in the world, the board selected Mr. Brit memory of Winston S. Churchill. Wilfred Owen for inclusion in the War ten to be the first winner of the Aspen What language does Britten use for Reqltiem. Award. The Award itself reads: "To this communication with the people of At the age of 29, Hritten came to Benjamin Britten, who, as a brilliant his time? His own words speak most America to seek the peace of a nation composer, performer and interpreter eloquently of the forces and inspirations more removed from the tension and ter through music, of human feelings, moods, that have influenced his technique and ror of war at hand. As a conscientious and thoughts, has truly inspired man to musical concepts. He was born and has objector and a devout pacifist, he ab 'understand, clarify and appreciate more lived the greatest part of his life on the hors the reasons for war and the sense fully his own nature, purpose and des quiet pebbled beaches of England's Suf lessness of war. However, feeling more tiny."l That he has been considered one folk County, OIl the North Sea. !'I love and more removed from his people and of the most brilliant composers of the the sea, and this is, reflected in my writ his responsibility to his native England, 20th century is illustrated by his reply ings." Thus the subtleties of the influ stating his own expression of his musi ence of the folk music and his love of Southeastern premier of Britten's War cal credo: "I certainly write music for the English countryside are certainly not Requiem presented at Emory lJniver..; human beings ... directly and delib as prominent as in the musical language sity by the chorus and orchestra, erately ... offering to my fellow man' of the late Ralph Vaughan-Williams, William W. Lemonds conducting. THE CHORAL JOURNAL in March of 1942 he returned to Eng be1:ter and to understand death in the of Mr. Owen. The rhythmic drive of the land and made his contribution as a per light of the teachings of Christ. movement is non-metrical in that Britten former for the troops, and continued his The work is conceived upon three has a great predilection for changing newly-acquired success as a composer planes or levels of expression, each ful frQm one time signature to another, with the opera Peter Grimes. The fool filling a need in the total expression of thereby achieving a freedom from metri ishness of war was everywhere about the pity of war. cal accent that is so apparent in Gregor him, and later he confessed that the The first might be called the life of ian Chant. Even the subdivision of the idea for the War Requiem had been in the here and now, one in which there is pulse is often that of five rather than the his mind for years before he wrote it. deClJth and loss of talent and potentiali conventional division into two, four, etc. In fact, he had even planned certain ties through the grief and emotions The closing Kyrie using the tritone in movements in his head for years. One brought about by war. The shame of terval, now in parallel motion alternat of his avowed aims as a composer was the common cause of destruction and ing with the sound of the bells, comes to try to restore to the musical setting man's inhumanity epitomized by war to the first sign of resolution by coming of the English language a brilliance, becomes the agonized cry of the victims to rest upon F major, having begun freedom, and vitality that had been lack and those left behind, to mourn. This vaguely in a sense of D minor. ing since the death of Henry Purcell. musical plane is achieved through the In the "Dies Irae," Britten has fol The appeal of the directness of his use of the poetry of Owen with the tenor lowed tradition by the alignment of the musical vocabulary has borne great fruit soloist representing the English soldier text "Day of Wrath" with the trumpets in his ability to surround a given text and the baritone soloist representing the and trombones, and some critics have with musical ideas containing moods of German soldier. On this level of inten called this the least inventive of the mystery, beauty, and pathos that are sity the chamber orchestra requires only movements. However,. the shifting of the rampant in the world in which we live; 16 to 20 instrumentalists. tonal center and the movement into the The' Anglican Cathedral in Coventry The second level uses the text of the seven-four rhythm gives a great freedom was all but destroyed by the ravages of Requiem Mass itself, sung by the soprano to the expression of the text beginning the German planes in 1940. On this same soloist and chorus, with the full sym with the "Tuba Mirum," leading into site has risen a new cathedral symbol phony orchestra sharing in the drama the close relationship of the English izing that man is not defeated by history of the act of the mass itself, interacting text, "Bugles sang, sadd'ning the eve ,and that out of ashes of the terror of upon the lamentations of the living for ning air." The soprano solo, the "Liber war we do become reconciled with our the dead, the liturgical plea for deliver Scriptus," contains proud flourishes, brother and wish to start anew on the ance, and a reassurance of the resurrec which are worked out in inversions and path of being with God rather than apart tion as the promise of eternal life. extensions in a slow and majestic pat from Him. The symbolism of joining The third level" requested by Britten tern. One of the most beautiful of the the empty shell of the bombed building to be apart from the other two levels, is choral sections is the "Recordare Jesu with the new edifice designed by Sir cast as a part of the text of the mass, Pie," for women's chorus with four-part Basil Spence certainly influenced Britten first with the singing of the hymn of texture in an imitative pattern. The se in the War Requiem.. A quotation by praise by the youths, using the innocence renity of the music is broken abruptly the extraordinary poet of W orld War I, of the child's voice with only the sound by the entrance of the men's voices al Wilfred Owen, is the unifying mood of of the organ, and then joining the other ternatirig with a sharp clash of the brass the total work. planes for the "In paradisum" of the on the text "Confutatis." Probably no My subject is War, and the pity "Libera me" and the "Let us sleep now" setting of the "Lacrimosa" (Day of of War. text of Wilfred Owen. tears and mourning) has so poignantly kept the mood of the text since the mu The Poetry is in the pity. The War Requiem is not a work of beauty; in fact, it could be conceived as sical setting of W. A. Mozart. Britten, All a poet can do is to warn) being a dissonant work speaking ably for with sheer genius, has alternated the Owen the poet has warned us, but it the times in which we live. There is, soprano solo melody with the drone in took Britten's genius to create a work however, no denying that the work has seven-four time for the chorus. There is that brings in all the overtones of the' a profundity and awesomeness in its a most pronounced change from minor senselessness of war. He creates a work statement of the nonreconciliation of to major mode on the text "Qua resur that has a theme which is primarily one man with man, and of man with his Cre get." The prayer for the dead ("Pie of death, yet achieves a remarkable uni ator. The musical motive of the Requiem Jesu") is a closing eleven-measure son of love and mercy; of forgiveness is exemplified by the use of one parti phrase resolving the dissonance and and peace in contrast to the starkness cular interval referred to as the tritone, questioning of the tritone again to the and tragedy of brother against brother, an interval separated by three whole tonality of F major. and nation against nation. tones, which was forbidden in early The third movement, "Offertorium," writings in music. Even in later harmon may be outlined in a scheme of A-B-C I am the enemy you killed, ic structure, there was an aural demand D-E-C. The tritone C sharp to G is not my friend. to resolve from this dissonant sound into only now used as an intervallic motto, I knew you in this dark; for so one of the consonance. This particular but also there is now a definite key re you frowned tritone of F sharp to C permeates the lation between C sharp minor and G ma Yesterday through me as you work and especially the opening move jor. "A" begin's with the treble voices jabbed and killed. ment, the "Requiem Aeternam." The and organ calling for the deliverance of I parried; but my hands were bells peal forth the interval as the words the faithful from the depths of hell. The loath and cold.4 and rhythm of the choir are almost a "B" section begins with the chorus mov chant of the Kyrie, similar to the service ing in a more diS'sonant fashion (singing With the 13 poems of Wilfred Owen, ,of worship by the early pilgrims as they in intervals of seconds), singing the Britten combines one ot the oldest ser approached the winding path up to the prayer to St. Michael. This passage is vices honoring the dead, the Latin form church. primarily a prelude to the third section. of the Requiem Mass. Through the years The form of this movement could be the "Quam oHm Abrahae." This fugue man has employed it as a pattern of termed as A-B-A-C-B-C, indicating the is Britten's nod to the tradition of the worship in his struggle to know God unifying of the mass text with the poetry past. Conventionally this section has usu- SEPTEMBER-OCTOBER 1967 23 ally been set to imitative material, par in a slow five-sixteen time. A descending ticularly as a fugue as Britten has done. figure beginning on F sharp and return He has used all the technique of fugal ing in ascending, step-wise pattern from future of (horql /v/usic writing: subject, countersubject, inverted C natural, seems to provide the pulse of entries, stretti, and the subject with its the whole movement. "At a Calvary to be Theme of inversions. The fourth section is one of Near the Ancre" is a three-stanza poem, the most eloquent uses of the text of the which is interrupted after each stanza Owen poems in conjunction with the Re with "0 Lamb of God." Owen's bitter Seattle (onvention quiem Mass text. Mr. Owen, in the poem attack on all those who give their bles With the theme, "The Future of Choral "The Para:ble of the Old Man and the sing to war is thus answered with a Music", a power-packed program for the Young," has paraphrased the Biblical quiet prayer imploring the Lamb of God March 13-14 Convention of the American story of Abraham and Isaac, which for for peace. The closing "Dona" riobis Choral Directors Association has been him represents the sacrifice having ac pacem," sung freely by the tenor soloist, designed by Second Vice President Theron Kirk with several joint ACDA-MENC tually taken place in defiance of the di is a rising musical line (an inversion of sponsored sessions to take place during vine message from the Angel. Britten the ostinato figure) as.if the final prayer the Music Educators National Confer uses the concluding line of the poem for peace were already on its way to ence which is being held March 15-19 at three times ("But the old man would ward heaven. Seattle, Washington. not so, but slew his son, and half the Performing groups, lectl,lres, demon seed of Europe, one by one"),5 with six The Libera Me, the closing movement, strations and discussions will include a communicates the urgency of the day of reading of the Walton Belshazzar's interpolations by the trebles on the Hos ~east on the evening of the 13th with tias text, "We offer unto Thee, 0" Lord, judgment for each of us as individuals. the Seattle ISymphony and Katims con sacrifices of prayer and praise." This is Britten seelTIs to cat.ch up the whole world ducting, a special luncheon meeting for accompanied by a drone on the organ in a sense of awesome responsibility for Honorary Life Member awards, "a session the nuclear forces available and the ur on new notation with a demonstration around the C sharp and F. Then comes choir being trained in reading and in- a repetition of the fugue almost intact, gency for man to reconcile himself with "terpreting under the direction of Brock except that the counterpoint has all been God and his fellowmen. The music starts McElheran of Potsdam, New York, and inverted. It concludes with the inversion with only the percussion, as if the march the premier of a:n ACDA commissioned ing of armies were to be heard as a work by William Bergsma. and voices moving in parallel fifths with "During the ~ast quarter century a the subject and its inversion. A highly warning in the" distance; then a vocal great change has taken ,place in choral complex movement which, because of the style reminiscent of the opening Kyrie music: better choral music is being per uniqueness of its creative power, in its begins a gradual crescendo in sound and formed today, music of the past is now a gxadual acceleration in tempo until the being performed with stylistic correct simplicity of sound belies the intricacy ness, choruses have developed so that of the musical construction. great vocal climaxes are simply over they have a variety of tone and manner powered by the sound of the orchestra. of singing to fit the particular music The Sanctus and Benedictus section The emotional despair becomes an almost they are performing," says Vice Presi provides a great contrast to the mood of hysterical ebbing of the human spirit, dent Kirk. "We are interested in the fu preoccupation with the horror and use crying for identification and a hearing ture of choral music: new expressive lessness of war and death as brought possibilities in the "choral instrument", in a world with power and knowledge contemporary trends which will make about by human folly. Britten turns to enough to destroy itself. After a return the church choir more meaningful in the the bright key of D major, beloved and to the turbulence of the Dies Irae musi worship service, contemporary music the used by Bach, Beethoven, and others in public schools: both conservative new cal ideas, the Libera gradually subsides music and 'avant garde'." so many of the masterworks in their as the accelerando at the beginning of songs of praise. The bells again announce Articles concerning the ACDA conven the movement becomes a rallentando and tion will appear in this and the next is the musical motto, with the soprano so the crescendo becomes a descrescendo. sue with the complete program for the loist in almost recitative fashion pro This is a complete reversal of the open meetings listed in the January-February issue of The Choral Journal. We urge all claiming, "Holy, Holy, Holy is the Lord ing of the movement. The tenor and God of Hosts." Then with a sheer stroke members to make plans now to attend baritone, as if from the life hereafter, .in both .A:CDA and MENC conventions 'at of creative genius, Britten announces recitative fashion, have a dialogue from Seattle in March to further the cause of eighteen times by the chorus, in free Owen's "Strange Meeting" concerning music in America. speech on a given pitch, "Heaven and the cause of mourning, and concluding earth are full of Thy glory;" (beginning with "I am the enemy you killed, my with the lowest voice and climbing to" the and hope of good will to all men. Amen; friend. I knew you in "this dark; for so Amen. :.: highest voices in a steady crescendo and you frowned yesterday through me as ending with an almost feverish shout of FOOTNOTES you jabbed and killed. I parried; but exaltation). Then the orchestra (primar 1.The Aspen In!Stitute for Humanistic my hands were loath and cold."6 Studies Annual Report, 1964. Reprinted ily with brass) and choir in imitative by permission. fashion, hover around D major in rhyth The reaffirmation in God is pro 2. Ibid. mic outburst on "Hosanna in Excelsis." claimed with. the text, "Let us sleep now," 3. The Collected Poems of Wilfred Owen, ed. C. Day Lewis. Copyright 1963 From this frenzy of excitement and en superimposed upon the "In paradisum" by Chatto and Windus, London. Reprint ergy, we come to the Benedictus, with a text. Thus, for the only time uniting ed by permission of Mr. Harold Owen, lyrical dialogue between the soprano so Britten's three musical levels and planes Chatto and Windus, and the American loist and chorus. With the flowing rhyth of endeavor: the life of the here and pUblisher, New· Directions Publishing mical patterns of the plain-song-like Corporation (New York). now, the liturgical plea for deliverance 4. Ibid. Benedictus melody comes the strong and reassurance, and the innocence and 5. Ibid. movement of parallel fifths, achieving purity of the youth. The final seven 6. Ibid the archaic effect of organum. The Ho ** measures, the last supplication for peace, -Reprinted by permission from The sanna section returns, followed by the use no new material. This coda appears Emory University Quarterly (Winter, baritone's "My fiery heart shrinks, ach as if a benediction had been given upon 1965), Carl E. Bain, Chairman of the Ed- ing. It is death." two artists who had taken time to warn itorial Board. . The Agnus Dei, one of quiet petition, and to communicate with their fellowmen with an ostinato figure of five notes, is the hope and dream of a world of peace Send us news with your dues! 24 THE CHORAL JO~RNAL The structure of the viol was gener ally lighter than that of the violin and so the bass viol was most comparable to -!J.n::J II'UWl-en I::J the violoncello. The inner construction of the body of the viol was more deli cate than that of the violin family. The wood of the viol was thin and the depth OF THE Baro€jue l;ra of the ribs of the alto and treble viols exceeded that of the violin and viola. KENNETH E. MILLER From the early seventeenth century the backs of the smaller viols were often Associate Professor of Music Part Three University of Missouri, st. Louis made of strips of alternate light and dark wood. These backs were supported by one or two thin narrow bars glued The keyboard instrument which per String~cl Instntments across them; those viols with flat backs formed the continuo part was the center Stringed instruments of this time are contained a thin strip of wood, about two of the performing ensemble during the of two general types, and are commonly inches wide in the treble instruments, baroque era. It is generally known that distinguished by calling the viole da which ·was placed across the inside of the J. S. Bach chose to remain at the key gamba simply viols and the viole da instrument and the sound posts rested board during the performance of his vo braccio, viQlins. After mid seventeenth on this strip. cal compositions, and this means that he ceritury the only members of the family The bow of the viol was slightly short conducted from the harpsichord or the of viols to retain any real importance er than the modern violin bow. It was organ. were the bass instruments whose range held with the palm of the hand upward Harpsichords built during this time and size corresponded to the violoncello, and with the thumb above; the middle had a bright sound because of their now called the viola da gamba, and the finger was on the hair about two inches double, triple and even quadruple strings. double bass, or violone. The. remaining from the nut. The position of the middle Generally the instrument had a range of members of the family suffered a decline finger on the strings was three or four four octaves, from C two octaves below in the face of the viole da braccio. fingers from the bridge. The tension of middle C to two octaves above. the bow was obtained by an outward Viole do, Gamba . bending of the wood and during the sev In Germany the harpsichord followed The tuning of the viols, except for the enteenth century the screw nut was the Flemish·model and the best speci violone, was invariable; there was the added to adjust the tension more con mens made by the Hamburg family of interval of a perfect fourth between all veniently. Hass were among the largest and most adjacent strings, except between the third Accents were executed by pushing the complex ever produced. The German and fourth where there was a major bow forward and not by pulling the bow makers used the sixteen foot stop, for third. The violone, the double-bass of back, as with the violin. This manner of example, a feature which was not found the family, was sometimes tuned to in bowing resulted in the delicate sound elsewhere. They also incorporated a two tervals of a fourth throughout, and some which was one of the most characteristic foot stop in some instances and with this times to the ordinary tuning as described features of the viol. stop-;--ifladdition to the four foot, the for the other instruments of the family. The finger board of the viol was ap eight foot and the sixteen foot· stops, the Viols were capable of responding to proximately three-quarters of the length harpsichord became nearly complete, the slightest touch of the bow. Yet the of the vibrating string and the second lacking only a pedal register to equal the tone color produced by the viol was .less octave of any string was reached at the principal resources of the contemporary brilliant than that of the violin. The tone very end of the finger board. Just as the organ. Instruments also exist which of the viol could not be forced beyond a techniques of bowing was not the same have the pedal, but this Pedal-Klavizim certain point, since their construction for the viol as for the violin, the position bel was used as a practicing instrument was not designed to respond to harsh of the fingers on the strings was also for organists. tones. i different. The position of the fingers Much of our knowledge of the organ A fundamental distinction between the was as for playing the lute, with the in Germany during the early baroque viol and the violin was the fact that all thumb on the back of the neck opposite period is a result of information recorded viols were fitted with gut frets which the fore finger so that the hand was by Michael Praetorius in volume two of were placed a semitone apart, while the free to move up and down as necessary. the Syntagma Musicwm. In this volume, violin never was a fretted instrument. The finger board contained seven frets, Praetorius lists examples of large as well The frets served two purposes: (1) they and an eighth was sometimes added to as modest installations. We will only gave each note the clear singing quality serve as a guide. When it was necessary summarize the most basic principles, of the open string, and (2) they pro to use the lower frets or beyond them, those which are important when the in vided for an equal-tempered scale. Each the highest note was always stopped with strument is used in a performance of fret consisted of a gut string passing either the third or fourth finger. If it choral music. over the fingerboard and tied in a spe was stopped with the third finger, the The organ df the baroque era contained cial kind of knot which allowed it to be first and second fingers took their pro pipes which were voiced on light wind tightened after stretching. The standard per places to stop the two notes below. pressure and which gave a mellowness. number of strings on consort viols was If the highest note was stopped by the to the tone. The pedal was not only six, while the smallest viol had five fourth finger, the first note lower was thought of as a bass to the whole but strings and some large instruments had stopped either with the third or second was designed to be capable of carrying seven strings. The strings of a viol were finger, depending on whether the note a melodic line independent of the man longer, lighter and less tense than those was sharp or flat. Regardless of whether uals. The manuals were contrasted ton of a. violin, for the string of the viol the highest note used the third or fourth ally to give independence necessary for spoke freely at the smallest touch of the finger, the interval of a third below al performing polyphonic music and the bow. Less tension called for a lighter ways was stopped by the first finger and majority of stops were four foot. string. this finger served as a guide for the two SEPTEMBER-OCTOBER 1967 notes above it. This system applied throughout the entire finger board for stopping three consecutive notes· on a single string, with only the difference Highlights of TeO AConvention that where the stops were wide the little finger was more often used than it was lower down where the stops were closer. Aug. 2·5, at San Antonio, Texas Viole da Braccio By.MEL lVEY The viole da braccio may be referred to as the violin or geigen family. The German school of violin making began All records were broken at the 12th Thursday morning activities were high at Absam near Innsbruck with Jacob annual Texas Choral Directors Associa lighted by an appearance of the Browns Stainer (1621-1683) , who was the first tion convention held Aug. 2-5 in San An ville Boy Choir under the direction of to introduce refined Italian workmanship tonio, Texas. Attendance was at an all Robert Buchanan, who presented a con into Germany. time high, numbering over 350. All read cert of music from all periods. The choir The violin, in Europe, was always ing sessions and workshops were over boys, who range in age from nine to held on the shoulder and bowed with the flowing which was extremely gratifying thirteen, are selected by audition in all palm down. The fact that Praetorius felt to the TCDA Board of Directors. of the Brownsville elementary schools, it unnecessary to describe the instru Cloys Webb, Chairman of the Ways and rehearse Saturday mornings during ments of this family in detail indicates and Means Committee kicked the con the school year and three times weekly the ii1struments were well known in Ger vention off a day early by organizing a during the summer. The TCDA member many during the early part of the sev golf tournament at Pecan Valley Country ship was not only entertained, but great enteenth century. Club for members of· the organization. ly inspired by the young singers. After The delicacy, strength and lightness of Much fun and fellowship was had by all the concert, the first reading session of the viol bow applied also to the violin and the winner received a beautiful Proven, Basic, developmental treble choir bow, but the principal distinction from trophy. literature was led. by Dr. Ray Moore, the modern bow was that the tension of the hair was preserved by the outward arching of the stick and not by the straightening of an inward curve. Be cause of its· firmness, which is allied to its lightness, the bow of the seventeenth and early eighteenth centuries gave a crispness in staccato effects and in rapid detached notes. Summary Practical problems to be found in pre paring performances of baroque choral m).1sic have become important consider" ations in recent years. and the alert con ductor maintains an interest in such con siderations. It is understood that the in strumentation for a particular score was subject to change. Indeed. there is much evidence that particular instruments and voices were varied from one perform~ ance to another. Recognizing these vari BROWNSVILLE BOY CHOIR, ROBERT BUCHANAN, DIRECTOR ables, it has also been felt that specific information about the instruments and their function is important to a better understanding of the choral music of the baroque era. It was from this point of view that these articles have been pre ~~. H Two paperbacks of interest to our members which are to be released this fall by Apollo Editions are Opera Before Mozart, Michael F. Robinson (A161) Sept. 15, $1.95 and A Short History of Music in America, John Tasker Howard and George Kent Bellows (A162), Oct. 15, $2.45. Other music releases available at bookstores include A19, Grand Opera in Digest Form, J. Walker McSpadden; A32, Stephen Foster: America"s Trouba dour, John Tasker Howard; and Al44, A Concise Dictionary of Music: An In troductory Reference Book, Jack M. and Corinne Watson. ROBERT HINES AND THE UNIVERSITY OF TEXAS CHAMBER SINGERS 26 THE CHORAL JOURNAL choral director at Lamar State College, Beaumont. Texas. After the lunch break. R. 'Wayne Hu goboom. National Executive Secretary of ACDA led the second reading session which included Showtunes, Pops, Folk songs. Spirituals. and Novelty tunes. Hugoboom also led the SATB secular session. Other session leaders included Herf Applewhite, University of St. Thomas, Houston, Texas; Dr. James E. Richards, East Texas State College; Dr. Lloyd Pfautsch. Southern Methodist Uni versity; Paul afield, Houston; William A. Hunt, Tarleton State College, and Hugh Sanders, West Texas State Uni versity. After Thursday's activities, a picnic supper was held at The Lone Star Brewing Company, a joint event spon sored by the Texas Orchestra Directors Assoc. and TCDA. DR. RAY MOORE DR. LLOYD PFAUTSCH Dr. Lloyd Pfautsch was the clinician Lamar State College, Beaumont Southern Methodist University for two Church Music Workshop ses sions, held on Friday. The topics were "'Instrumental Music in Worship" and "Contemporary Trends in Sacred Chor al Music". Both sessions included some very fine literature and some very in spiring ideas. The attendance at these two sessions was far greater than any in past TCDA history. Friday evening a general business meeting was held for the TCDA mem bership. A representative from the Hem isFair ',68 talked to the group about the plans for this international undertaking. Wayne Hugoboom brought greetings from ACDA and told about other states choral activities and organizations. Past president pins were presented to Earl Tom Keel, 55-57; B. R. Henson, 57-59; J. B. Furr, 59-61; Mike Johnstone, 61~ 63; Cloys Webb, 63-65; and Karl Hick fang, 65-67. WILLIAM A. HUNT During the meeting Jim Casey was HUGH SANDERS Tarleton State College elected President of TCDA, and C. J. West Texas State College Leslie was elected 3rd Vice-president. After the general meeting. a lecture concert was presented by Robert S. Hines assisted by the University of Texas Chamber singers. Mr. Hines is Profes sor of Music at Wichita State Univer sity in. Wichita, Kansas. The lecture included analyzation and explanation of Benjamill Britten's Six "Choral Dances" and "Rejoice in the Lamb. Op. 30". Af- . tel' the lecture concert. Dixieland sing ing, and refreshments were enjoyed by all attending "The Landing". The con vention concluded with the 10th and 11th reading session led by William Hunt and Hugh Sanders. The board of directors met immediate ly following the convention to begin planning the 1968 convention with the exhibits and reading sessions to be held at the convention center on the grounds of HcmisFair '68, :.: DR.. JAMES RICHARDS HERF APPLEWHITE East Texas State College Send us news with your dues! University of st. Thomas, Houston SEPTEMBER-OCTOBER 1967 27 and excellent varied literature available Elementary Sessions Held at for boys' or childrens' choirs. Bach and Purcell to Schubert and Brahms, to Brit ten and Samuel Adler were represented as well as folk music and Rogers and TeDA Convention Hammerstein. Very enlightening was the use of art songs such as Schubert's If there were ever doubts concerning "Skills, Understandings, Attitudes" and Hedge Roses and Haydn's In the C01m the value of elementary workshops and "Music Media Methods". As TEA Ele try as program literature. The usefulness reading sessions at the Texas Choral .mentary Music Consultant, Mary Ann as well as beauty of this material was Directors Association convention, these has had the opportunity to stay in con evident. doubts were dispelled by the highly suc stant contact with all the valuable new Three hundred people' were on hand cessful sessions held August 3-5 in San teaching aids. Her presentation is a for the unison and two part reading ses Antonio's Gunter Hotel. The three days good blend of art and technology. sion for the children's choirs, ably di were planned, organized and "chaired" Elinor Montandon, new Elementary rected by Paul Ofield of Houston. Paul by Martha Jim Palmer, TCDA's capable Division Chairman of Texas Music Ed is active in all phases of choral endea- 1st Vice President. Out of 352 total con ucation Association, did her usual superb vention attendance, 109 indicated a work in the session entitled "Elementary strong interest in elementary music. Choral Octavo with Instrumental Ac The elementary sessions nationally companiment". Her partner in rhythms known head-liner, Dr. Kurt Miller, was was Jack Harmon, President of Ameri also the keynoter for the convention on can Educational Music. Rhythm instru Thursday morning. Dr. Miller's topic was ments for all the workshops were sup "Unexplored Dimensions of Your Music plied by Rhythm Band, Inc. It should Program" which was a challenge to throw be a source of pride to Texas Music Ed away habitual, tired ideas - to create in ucators that their professional organiza your own mind the ideal situation for tions, TCDA and TMEA cooperate fully your school or church; then by retro in the stimulation of better teaching. grade do the things necessary to create One of TCDA's past presidents and the ideal in reality. Dr. Miller headed all time supporter, Cloys Webbs of Mc two other sessions entitled "A New Di Allen, with fine help from 6th grade mension to Music Teaching" (using con children from Cambridge Elementary temporary music with children) and School, Alamo Heights School District "Added Dimensions to Creative Music in San Antonio, demonstrated "Choral Teaching" which electrified the audience. Techniques for Upper Elementary Chil Many commented that this was the best dren". Cloys gave us insight into his presentation on creativity that they had understanding of how to teach children ever seen. Dr. Miller is a young man breathing, posture, pride of organization, with an interesting and impressive back phrasing and tone. ground. He will assume the position .of The session of children's choral tech Associate Professor of Music at the Uni niques was especially interesting after Dr. Kurt Miller, University of Montana, versity of Montana beginning Septem having heard the excellent Brownsville keynoter of the 1967 TCDA Convention is shown dUring his exciting creativity ber, 1967, after having served as Super Boy Choir in concert at the opening ses demonstration. visor of Fine Arts for the Santa Maria, sion. The choir is directed by Robert B. California, School Distrief and Director Buchanan, former TMEA Vocal Divi of Music for the Army Dependents Ed sion Chairman, assisted by Ann Ander Cloys V. Webb, past TCDA President ucation Group in Europe. He has di son, ]. T. Hightower and Ruth Lang and children from San Antonio's rected international camps in Switzer ford. The choir, made up of 35 4th, 5th Cambridge Elementary School of Alamo Heights I.S.D. joined voices and smiling land and Denmark and, in 1962 organ and 6th graders, sang a remarkable pro faces to demonstrate choral techniques ized the first European summer music gram proving the 'versatility of the choir for childrens choirs. camp for American high school students. His text Help Yourselves to Music is used in approximately 30 colleges and he is the music consultant and arranger for the. Exploring Music Sel'ies of Holt, Rinehart and Winston. Dr. Miller was co-sponsored on his trip to Texas by Rhythm Band, Inc., Tommy Moore, President, and American Educational Music, Jack Harmon, President. Prophets can be honored in their own country. Texas talent was ,much in evi dence at Mary Ann Vaughan, Elinor Montandon and Cloys Webb's sessions. Mary Ann, our pretty friend who served the state so well as Elementary Music Consultant of the Texas Education Agen cy and who will now grace the Texas Tech campus as part of their music ed. staff, gave us two outstanding sessions: 28 THE CHORAL JOURNAL vor. He is presently choral director al Seymour Swets Honored for Robert E. 'Lee High School and Minis ter of Music at Bethany Methodist florida ,4(0,4 (hapter to Forty-four Years of Service Church in Houston, Texas. He is also the An All-Beethoven Concert and dedica Director of the Bay Area Chorus in the (o-sponsor first (horal tion of the Seymour Swets Choral Room NASSA area and conducts The Singing in the Fine Arts Center, Knollwood Cam Boys of Houston, composed of boys with pus, were two events in Grand Rapids, Workshop with (fi( Michigan this spring Which honored the outstanding voices of all the Houston retirement of Professor Seymour Swets Elementary Schools. As its first major contribution to the as head of the music department at Cal Any serious professional who is cur choral program in Florida, the state vin College after 44 years of service to rently connected with elementary music ACDA chapter and Central Florida Jun the school and community. Graduated ior College Music Department announces from Calvin Prep School in 1918 and re or children's choirs in Texas cannot af ceiving his A.B. degree from the college ford to miss the TCDA workshops and a two-day choral workshop to be held November 10-11 at the CFJC Cafeteria in 1923 ana professor of music in 1931. reading sessions. We'll see all of you in in Ocala which they are co-sponsoring He has conducted the Calvin Oratorical San Antonio at TCD:A in August, 1968, with the cooperation of the Florida Vocal Society and orchestra in the Handel's Messiah for the past 47 consecutive on the beautiful HemisFair grounds. t·: Association, FMEA. Open to all choral teaahers throughout the state, the work years, a Grand Rapids tradition. shop is hoped to be the first of several The concert featured the Symphony area events to be held early in the school performing Beethoven's Symphony Num year as a means of pinpointing and of ber 8, followed by the Concerto No. 4 in fering solutions to many of the choral G Major with Ruth K. Rus as pianist, problems, partiCUlarly in the smaller and the Credo from the Missa Solemni" schools, ACDA state Chairman Peg Bar in D Major by the Calvin College Choir ber explained. with Prof. Swets directing on Friday and Climaxing National Music Week, the Saturday evenings, May 5 and 6 at the workshop will open with registration on Fine Arts Center auditorium. The dedi Friday evening at 5:00 with dinner at cation of the Swets Choral Room which 6:00 and a concert at 7:30 to be followed seats about 100 took place on May 6 by a demonstration of various choral with the following Presentation address problems, using the choir as the work which is a fitting tribute to one who has ing ·group. Brochures are being mailed given his life work to the advancement to all choral teachers throughout the of choral music. state as well as to all ACDA members in To our Chief Musician an effort to establish this ty;pe of ser SEYMOUR SWETS vice throughout the state for all choral Who taught us in our days that "it is teachers and to assist the FVA in this a good thing to sing praises unto our and other ways In charge of arrange God." (Psalm 147:1) ments are Peg Barber, Stranahan High School, Fort Lauderdale, and Larry Wy Who taught us to know the ancient att,choral director at Central Florida psalms and the magnificent chorales, Junior College at Ocala. Clinicians will to know them by singing them; who include William Clarke and his Terry led us into a rich dimension of salva Parker Concert Choir of Jacksonville; R. tion by lifting us into the sounds of Wayne Hugoboom, ACDA Executive .Sec new songs; who turned us ever anew retary, Tampa; Ronald R ..Davis, Super to God with a "new song" on our lips. visor of Music for Broward County, Who made Calvin College a commun Fort Lauderdale; Thomas' Demps, choral ity of'music, and its name to be known director at Bethune Cookman College, among many as a college of inSilired choruses. Martha Jim Palmer, TCDA 1st Vice Daytona Beach; and Larry Wyatt of President Wld Elementary Chairman, Ocala. Who showed us that life is a song, that enthusiasm can be joined to se and Elinor MontWldon, Elementary The scheduled program is: Division Chairman of Texas Music renity, and that service is a harmony Educators Association look very happy Friday, November 10, 1967 of labor and joy: who showed us these about the excellent relations between things by living his life before us. 5:00 Registration (Cafeteria) the two major music groups. Who opened a new world to many, a 6:00 Dinner world of song, and led them to under 7:30 Concert Hour: Terry Parker Con stand why the Psalmist would say: "I cert Choir, William Clarke, director will sing unto the Lord as long as I 8:15 Demonstration: R. Wayne Hugo live; I will sing praise to my God boom, ACDA Executive Secretary while I have being." (Psalm 104:33) To our "chief musician," through Saturday, November 11 whose character and talents God richly 9:00 "Music as an Academic Subject" blessed us in our time, and for Whom in Ronald R. Davis, Supervisor of grateful tribute the Seymour Swets Music, Broward County Choral Room has been named. 9:50 "Choral Diction and Tone Prob lUarlts Music Corporation announces a lems" - Thomas Demps, Choral new and important choral series to be Director, Bethune-Cookman Col initiated in September with the "Magni lege, Daytona Beach ficat" by Niccola Porpora. The selections, 10:40 Coffee Time which will bear the imprint of the Man n:l0Conducting Techniques - R. Wayne hattanville College Choral Series, edited Hugoboom, ACDA, Tampa by Ralph Hunter, will include serious 12:00 Lunch in Cafeteria works of both contemporary and baroque composers, and will be arranged for 1:15 Concert Hour: Ocala Civic Chorus, mixed chorus as well as for women's Larry Wyatt, Central Florida Jun voices. ior College, Conductor 2:00 ACDA Business Meeting Carl Fischer, Inc. deeply regrets the Mary Ann Vaughan, Elementary Music 2:30 Choral Reading Session: Wayne sudden passing of Mr. Carroll G. Cambern Consultant with the Texas Education Hugoboom, Thomas Demps, Larry on Wednesday, August 30, 1967. He was Agency showed the latest teaching Wyatt. Music supplied by Shrader the firm's West Coast representative for aids and how to best use them. Music Service, Tampa. the past 30 years. SEPTEMBER-OCTOBER 1967 29 Phi Mu Alpha Sinfonia Fraternity of America has announced the appointment H~PPINESS of Alan E. Adams as National Executive Secretary to replace Dr. Price Doyle. Doyle, who died May 5, 1967, served as Sinfonia's Executive Secretary for 18 IS '" years. Adams is a graduate of the State University ColIege at Potsdam, New York and earned his M.M. at IIIinois Wesleyan University in 1965. He taught in the public schools of New York State and has served since 1964 on the educa tional staff of Music Publishers Holding Corporation as Educational Representa tive and Clinician. He will coordinate the Fraternity's extensive chapter, alum ni and publication activities from its new National Office in Evansvi1!e, Indiana. Plan NOW to Attend the ACDA NATIONAL CONVENTION at Seattle Washington MARCH 13-14, 1968 WILLIAM BERGSMA Composer William Bergsma has ac STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Act of October 23, 1962; Section cepted a commission to write a· choral 4369, Title 39, United States Code) work for the ACDA National convention I. Date of filing: September I, 1967 at Seattle March 13-14, according to Ther 2. Title of publication: The Choral Journal. 3. Frequency of issue: Bi-monthly (6 issues annually) on Kirk, Second Vice President in charge 4. Location of known office of publication: Route I, of the convention. Born in Oakland, . Box 365A, Tarpon Springs, Pinellas County, Fla. California in 1921, Bergsma studied at 33589. 5. Location of the headquarters or general business Stanford University and the Eastman offices of the publishers (not printers): P. O. School of Music with Howard Hanson Box 17736, Tampa, Hillsborough Co., Fla. 33612. and Bernard Rogers, receiving B.A., 6. Names and addresses of publisher, editor. and a managing editor: Publisher: American Choral Di graduating Phi Beta Kappa, and an M.M. F'I N[)ING"Tr\PlT \J.\ST YE:FlRS rectors Association, Harold A. Decker, President, In 1946 he joined the composition fac U of Illinois, Urbana, III. 61803J Editor: R. Wayne BLl:l2.E~ SrlL\... ~ITS Hugoboom, P. O. Box 17736, lampa, Fla. 33612; ulty of the JuiIIiard School of Music, in Managing Editor: same as editor. 1960 he was named· Chairman of the De 7. Owner: American Choral Directors Association, partment of Composition and of Litera Harvey E. Maier. Secretary-Treasurer, 204 South 34th Ave., Hattiesburg, Forrest Co., Miss. 39401. ture and Materials of Music. In 1961 he 8. Known bondholders, mortgagees, and other sec assumed the post of Associate Dean of urity holders owning or holding I percent ~r the school. more of total amount of bonds, .mortgages or other securities: None. In 1963 Bergsma was appointed Di 9. Paragraphs 7 and 8 include, in cases where the' rector of the School of Music· at the Uni SECURITY IS,u stockholder or security holder appears upon the versity of Washington. At present he is books of the company as trustee or in any other fiduciary relation, the name of the person or a member of the Advisory Council of corporation _for _whom such trustee is acting, the American Music Center and is on the also the statements in the two paragraphs show Board of Directors of the Composers the affiants full knowledge and belief as to the circumstances and. conditions under which, stock Forum. Awar:ds have included a grant holders and security holders who do not appear from the National Institute" of Arts and upon the books of the company as trustees, hold Letters and American Academy of Arts stock and securities in a capacity other than ·that of a bona fide owner. Names and addresses of and Letters, two Guggenheim FelIow individuals who are stockholders of a 'corporation ships, the Columbia Records Chamber which :tself is a stockholder or holder of bonds, mortgages or other securities of the publishinq Music Award, the Bearns Prize from corporation have been included in paragraphs 7 Columbia University, a citation from the and 8 when the interests of such individuals are Music Library Association and the James equivalent to I percent or more of the total amount of the stock or securities of the publish D. Phelan award. ingco-rpora"tion. 'Writing of his plans for the composi 10. This item must be completed for all publications tion to Kirk, Bergsma said, "Since, in except those which do not carry advertising other than the publisher's own and which are named in our conversation, you suggested that out sections 132.231, 132.232, and 132.233, Postal Man of-the-way choral sounds were desirable, ual (Sedions 4355a, 4355b, and 4356 of Title 39, I have chosen a text from the Florentine United Staies Code) Average No. Copies Each Issue During Codex of surviving Mayan liturgy. The Preceding 12 Months text, although somewhat blood-curdling, Single Issue Nearest to Filing Date must literalIy be described as festive and A. Total No. Copies Printed (net press run) 4000 4000 should end your convention in a lively B. Paid Circulation manner." I. Sales through dealers and carriers, street ven w dors and counter sales none none 2. Mail Subscriptions , 1041 3317 C. Total paid circulation 3041 3317 Carl Fischp.r, Inc., New York, is pleased D. Free Distribution (including to announce that its California branch at samples by mail, carrier or other means 498 323 1057 So. Olive Street, Los Angeles, has E. Total distribution acquired the entire music stock of G. (Sum of C and D) 3539 3640 Schirmer, Los Angeles. Carl Fischer of F. Office use, left-over, unac counted, spoiled after California, under the general manage printing 461 360 ment of Stanley Halverson, will maintain G. Total (Sum of E & F should operations at the Westwood store at 907 equal net press run shown in A) 4000 4000 Westwood Boulevard, near the UCLA I certify that the statements made by me above campus: Mrs. Claire Harvey will continue are correct and complete. /s / R. Wayne Hugoboom to serve both old and new customers. Editor and Executive Secretary 30 THE CHORAL JOURNAL THOlJtlS G. ESTES, JR. Certified Public Accountant .AHIlRICAN CHOIlAL .DIREOTORS ASSOCIATION Southern Station,· iliJX 41:0 . STATEMENT OF OPERATIONS Hattiesburg, Mississippi JUly I, 1966- June 30, ·1967 RECEIPTS, Active Membership Dues - Old $11,380.86 Active Membership Dues - New 4,628.83 Associate Membership Dues 36.00 Dr. Harvey E. Maier Institutional Membership Dues 90.00 Secretary Treasurer Industry Associate Dues. 1,400.00 American Choral Directors Association Travel Rebate 49.00 Hattiesburg, Mississippi Depoait of Returned Checks 11.90 Miscellaneous Receipts 221.86 TOTAL RECEIPTS $17,818.45 I have examined tbe statement of Det worth of the American llXPENDI'XURES : Clioral Directors Association as of June 30, 1967, and the related Salarl!lls - Secretarial $ 2,520.71 statement of operat~ons for the year then ended. My examination 'Salary -Editor 1,760.44 ,"18B made 1n accordance with,generally accepted auditing .standards, Peyroll Taxes and Employees I Withholding 1,043.39 Office Supplies. Ex l'ostsge . 639.58 and accordingly included such tests of the accounting records and Preslde~t such' other auditing procedures as I' considered necessary 1n the •s ExpEmsea - 379.99 circumstances. l'rinting 1,134.70 Choral Journal 5i005,4O In my opinion, tbe accompanying statement of net worth and . Texas Choral Directors Assn. 52.9.00 statement of operations present fairly the financial position of Co~vention' ... Travel - ~elephone 1,967.99 Returned Checks and Bank Charges the AmeriC!lu Choral Directors Association at June 30, 1967It and 132.00 the results of its operations for the ,ea1:' then ended, in Audit 50.0Q conformity td.th genera.lly accepted accounting principles.. ·Safe. Deposit Box 6.50 Promotion 100.56 Dues Refund 62.00 House Payment 445.00 Office Equipment 25Q.OO Miscellaneous Expenditures 36.9L TOTAL llXPENDlTUllES 16.064.17 EXCESS OF RECEIPTS OVEll llXPEND= $ 1.754.28 August 3, ·1967 AHIlRICAIl ClIORI'L DIRECTORS l\SSOC1",TrON RECAP 01' SELECTED l,CCCUN'£S July 1, 1966 - June 30, 1967 AMEIlIC&1 CHOIlAL DIRECTORS MlSCCIATION E::!hibit A STATEMENT OF NET IJO!lTll Recap of Citizens Banlt Account June.30, 1967 Balance, July 1, 1966 Rec.eipts $17,31&.45 ASSETt;: Disbursements 16.064.!L -citizens Bonlt (Exhihit A) $ 2,796.41 Net Increase .-1,754.28 Share account - Pine Belt Savings & Loan Assn. (E"hibit B) 3,u54.69 Balance, June 30, 1967 $ 2.796.41 SaVings Certificates - Pine Belt Savings 6: Loan ASsn. (Exhibit C) 5,055.40 Exhibit B Building (Tempa, Floridi) 9,250.00 Shares Account ... Pine Delt Savings &: Loan Assn. Balance, July 1, 1966 $ 1,555.36 TOTAL MlSETS lli.J.56•70 Deposits: LIABILITIES: Life Memberships - Old $ 2,359.00 Mortgage Payable $ 8,805.00 Life Memberships ... New 1,05l~.OO Interest Income 106.03 NET \lORTH: Total $ 3,519.03 ~·alance~ June 30~ 1967 11,351.70 Hithdrawals: TOTAL LIABILITIES AND NET \/OIlTH $20.156.70 Purchase of Savings Certificates $2,000.00 Non-sufficient funds check ~ Total Net .Increase 1,499.03 Note to Financial: Statements: Balance, June 30, 1967 $ 3.054.89 1. Effective July 1, 1967, the Pine Belt Sevings Ex Loan Association~ HatticDburg, Mississippi. conv,~rted all savings certificates to mUltiples of $100 with Elthibit C any left over being transferred to the share aCCf.)unt. Savings Ce.rtificates .. Pine Belt Savings & Loan Assn. Therefore, on July 1, 1967, the balances in the Balance, July 1, 1966 $ 2,835.00 accounts 'Vlith this institution are: Add: Certificates Purchased $ 2,000.,JO Share Account' $5000.00 Interest Income ~~ Total Savings Certificates $3110.29 2,220.40 Balance, June 30, 1967 $ 5,055.l,o SEPTEMBER-OCTOBER 1967 31 Ch()r-al Veviewl' CMT. R. L. LANDERS, 8718 Elmwood Lane, Tampa, Fla. 33615 KENT A. NEWBURY, 5826 North 70th Place, Scottsdale, Arizona 85257 (Bourne; Canyon Press; Concordia; H. Flammer; Hal Leonard; (Belwin; Chappell; FitzSimons: Kios; Ludwig; Music Pub!. Holding, Mercury; Plymouth, Walton; Skidmore: Shapiro, Bernstein & Co.; Corp.; C. F. Peters; Richmond Music Press; Schmitt, Hall & McCreary; Summy-Birchard) PAUL E. PAIGE,Cazenovia College, Cazenovia, N. Y. 13035 BRYAN E. LINDSAY, Okaloosa-Walton Junior College, 423 Gregory (Boosey & Hawkes; Brodt; Elkan-Vogel; Frank; MCA Music; E. B. Avenue, Valparaiso, Fla. 32580. ' ,', , Marks; T. Presser, E. C. Schirmer; Shawnee Press; Staff) (Associated Music Publishers; Boston; C. Fischer; France-Colom RODNEY G. WALKER, Music Department" Kansas State,University, bo; Lawson-Gould; E. H. Morris; Pro-Art; G. Schirmer; Willis) Manhattan, Kansas 66502 BOB BURROUGHS, First Baptist Church, Box 85 Abilene, Texas 79604 (Augsburg; J. Fischer: Galaxy: Lancer; Mills;' Oxford University (Abingdon; American Educational Music; Pride; Tempo; Adver Press; Sacred Music Press; Volkwein) tisers not listed above wishing reviews) We must confe:ss to a certain amount sword, because we find ourselves fre (SATB w/sop and alt solo acap, 50c), of fear and trepidation when approached quently forced to choose between two, from Whitman's "Leaves of Grass," or by Wayne Hugoboom with the idea of rather fine selections. We hope that our N.Y.2521, Two Parables (SATE w/ten serving as a reviewer for The Choral publishers will pardon the inadvertant solo, opt. perc., 50c) for the two middle Journal. It has been a long time (five ommission of a potential "hit" now and folk ballads. It looks to be a pretty years or so) since this writer was in then; it's bound to happen. ' Nelhybel spring this year.... volved to any marked degree with the 4) Music'obviously conceived !for the 'Christian Morgenstern. We like poets. busines:s of critiquing the efforts of the chamber choir (see our article in the publishing industry - -graduate school In fact we are currently in the process last issue'of OJ), swing choir, etc., will of editing out a selection of "little mags" has a way of' isolating one from the be referred to only in passing, where it hustle and bustle of the workaday for possible texts, and to see two com warrants a ,citation, and where possible posers come up with the same poet world - and now, having returned to we will forward these materials' to the the arena of choral performance, we seems to us pretty indicative of that appropriate reviewer, such as our es poet's talent. Morgenstern is to poetry find ourselves somewhat overwhelmed teemed colleague, Jack Boyd. by the providential output of these what Huffnung was to cartooning (or So, with the ground rules laid out and Steig, if you want a more contemporary houses. Not that Wayne didn't forewarn the music all sorted, let's begin the busi us; it was simply unpelievable to see the name dropped) and two new composers ness at hand: quantity of new materials that crossed - new to us at least -, have set this delightful versifier for mixed chorus. our desk in the fortnight between ac Vaclav Nelhybel. Some of my best ceptance of this new role and the dead Associated Music Publishers has released friends are band directors (but I would both sets, and it's six of one, etc., as to line for submitting the first column. n't want my daughter to marry one, as Nonethele:ss, we have literally waded in which way you might choose to get. Let's the saying goes) and among those who talk SATB acap, first. These are by and begun, and the materials cited be are really "in", the name Nelhybel is low represent to Us some of the more Alfred von Beckerath (you remember either anathema or prophesy. Franco him?), nicely contemporary and not too excioting items in this month's passel Colombo, New York, has released sever of goodies. difficult, ranges within reason and the al choral compositions by this' exciting lines negotiable, with the singers' text We should say at the onset that cer new composer (the first that we have in English and the original German on tain criteria will be applied during the even seen) and they are well worth a the inside front cover. Translation seems first screening: perusal, if YOU've -got the guts. Really, good' enough - we're not translators they aren't ungodly hard, but they will 1) This column will be involved only anyway - and these pieces should pro require a great deal of finesse and mu vide a 4elicious bit of whimsy (be sure with music for mixed voices (various sicianship. Rhythms are the problem, combinations of 'SATB),although' occa and publish the poetry in the program plus precision (no sloppy attacks and on this sort of thing). A-464, The Spar sional references will be made to SSA releases pos1';ible here, gang) and there and TTB where programming indicates row and the Kangaroo, 25c; A-465, The are some rather tricky intervals to deal Three Sparrows, 25c; A-466, The Big such a necessity. with; Sonorities are for, the, most pa,rt 2) Primary emphasis will be on pro Elephant, 25c. As mentioned above, all triadic, shifting in blocks, and the lines SATB acap. gramming wherever possible. We are will really make' the singers sit up and firm believers in cohesive programming, take notice. We like especially "Four Switching to SATB div w/piano, we both from set to set and within each set, Ballads": N.Y.2600, The Gallows Tree would like to mention ,a set ,by Kirke and we will attempt to make good aes (SSATTB acap, 35c); N.Y.2601, Come, 0 Mechem, entitled, "In the Land of Mor thetic sense out of our selections wherev My Love (TTB acap, 30c); N.Y.2602, genstern." Here the poetry' is' much more er we can. Peter Gray (SSA acap, 25c); N.Y.2603, sophisticated (whatever that means 3) Only the best of the best will be Tfle Devil and the Farmer's Wife (SS we prefer "farther ont," or "more hip") reviewed. This, should go without saying, ATTB acap, 30c), to be performed as a and the music more difficult; we can't but we find ourselves fortunate in that set. In the event you don't want to split see too many high school groups tack the publishers assigned to us are all out your group we would suggest substitut ling these. A good college group should standing. This is actually ~ double-edged ing N.y.2518, Epitaph for.' a Soldier find tl:),em both exciting musically and 20 .years of Proven Service Guaranteed Shipment THE MUSIC BOOK STORE OF THE SOUTH 1053 Different Titles All ,Types of Music From All Sheet Music f'ublishe'rs When customer furnishes complete ond correct description, we guar- "America's Fastest Sheet Music Service" Books' - Music Lit'erature antee shipment in from 1 day to Q 10-day maximum, if available in print in the U.S.A. For Educators vStudy vReading ...-,," "-"'--:.~.--:: Music Supply loc. \/Reference vGifts We carry in excess of 75,000 dif ferent choral items and 13,000 P.O. BOX 1 WFCIrite or ata ague different band items in stock. SYLACAUGA, ALA. 35150 .... 32 THE CHORAL JOURNAL very fresh poetically. Mr. Mechem sug selection in a set of "Folk Songs of the Peters Editions indicating the many gests that they be performed in order World," or something. equally exotic, we Sundays in the Church year when the as listed, if done as a set: A-501, The would recommend this one: Mastom, anthem is appropriate. Organ or piano Questionnaire, 35c; A-502, The Odor Mastom, ed. Norman Phillips, J-303, accompaniment is provided, but the work Organ, 35c; A-503, The Lattice Fence, 35c. SATB w /piano, 25c. is scored for 2 oboes, 2 violins, viola, Here both German and English are Well, that seems to be enough for ev cello and bass. These parts may be had printed on the inside front cover and eryone to begin with, and we will move for $3.50, extra parts, 50c each. The for the singers. Again we suggest pub immediately into another batch of scores. Baroque composer Roman, sometimes lishing the English - did you ever try We are certainly open to criticism, and called the "Swedish Bach", was influ and follow "Facade" without a copy of we would like very much to hear your enced greatly by Buxtehude and Handel. Dame Edith"s verse in hand? suggestions as to how this column might Psalm 46 is one of his "Psalms of Da be improved. Thank you for taking the vid." Pergolesi. G. Schirmer has released time to read this far, and we hope we a set of ·four Pergolesi pieces, excellently have led you toward some new and ex RICHMOND MUSIC PRESS edited by C. Buell Agey, and we are citing musical experience. Let Song Be Lifted High - Raymond happy indeed to see this underrated corn, -Bryan Lindsay Rhea, MI-23, SATB, 25c. Mr. Rhea has poser get some attention. Although these written a quick-moving, fairly short, fan first four selections are drawn from ran fare-type of piece well suited to serve as dom sources (Mr. Agey has written a CHAPPELL & CO., INC. a strong concert opener or a section very good foreword to the series) we closer. It's optional a cappella and con see them melding well for a seasonal Georgy Girl - Tom Springfield, arr. by Chuck Cassey, 2306 (SATB), 3298 (SSA), tains' some divisi soprano and bass in program at Christmas or as an opening the contrary-motion triad passages. sacred set during any season other than 25c. From the film "Georgy Girl" comes this sprightly, catchy, Oscar-nominated My Johnny.Is Coroin' For Me - Richard Lent. They are for mixed media, which Oliver, F-4, SSA, 30c. This is a lovely, might create a small problem, although tune, given delightfUl rhythmic treat ment by Mr. Cassey. gentle, folk-like tune with piano accom the organ accompaniment could be ren paniment that includes unison, two and I Do, I Do - Harvey Schmidt, arr. by dered by piano (every purist among you three-part verses. Nice writing! This Jacques C. Rizzo, 2;305 (SATB), 3296 will shudder, but what the heck!). The number should be equally popular with (SSA), 25c. The lovely and meaningful first is sombre and can be used as a chorus and audience alike. Lenten piece - we see it also as the title tune of the show, available pre opener for a regular sacred set - and viously in the Choral Selections, is now For the Christmas Season, Richmond the others are general purpose, as men presented in separate publications for also offers some fine choices. FollOWing tioned above. 11280, 0 sacrum convivium, the two voicings. are some suggestions: SATB acap, 35c; 11412, Sanctum et ter Three selections have been adapted Joseph Was Travelin' - David Daven ribile nomen ejus, S'SATB, ·w/ org or pi from the Capitol Record Album, Gallant port, MI-21, SATB, 30c. A simple, gentle, ano, 35c; 11409, Gloria Patri and Amen Men. Stories of the American Adventure moving, effective, tuneful melody With (Responsory), w/org SATB, 25c; 11456, told by Senator Everett McKinley Dirk lyrics by Lloyd Whitehead, the "poet SATB w/org, sop and alt solo, 30c. All sen. They are: Gallant Men - John Ca laureat" of Richmond Press. Excelsus super omnes gentes Dominus, cavas, arr. by Chuck Cassey, 1299, TTBB, A Christmas Eve Prayer Richard are in Latin and English, Latin upper 30c, optional snare drum. Heroes' .Hymn Oliver, MI-20, SATB 30c. The "Peace, most, no italics. John Cacavas, arr; by Jacques C. Rizzo, good will to men" message is told by a Also from G. Schirmer come two larger 2302, 'SATB, 30c. The Pledge of Alle child, in ti1is delightfUl, three-verse, al works that should make outstanding giance - John Cacavas, arr. by Jacques most pop-like Christmas song. C. Rizzo, 2303, SATB, 25c. openers: Heinrich Schutz' The Heavens The following three are compositions Declare the Glory of the Lord, 11400, Chappell, by arrangement with Acuff by this reviewer: Ger~ Rose Int~national, Inc., has a new se SSATBB, w/org, 35c, with text in Tonight Is Born in Bethlehem - M-14, man and English. This is exquisite poly ries for those interested in the fairly re cent trend of special rhythm arrange SATB, 30c. A catchy, calypso number choral Schutz and should find many per with piano accompaniment. A few rhythm formances this coming December. Also ments of pop tunes. This is the "Pop Goes the Country Choral Series", using instruments could be effectively used in G. F. Handel's Coronation Anthem No.4, a concert situation. "Let Thy Hand Be Strengthened," country and western tunes arranged by SAATB, w/org or piano, $1.00, will prove ChuckCassey or John Cacavas. The di Come, . Hear the Christmas Story .. to be acceptable fare for graduations, or rector's kit, at $1.50, contains conductor's MI-13, SATB, 30c. Piano accompaniment. other such state occasions. It appears part, performance notes, piano accom An anonymous poem given a pure minor that G. Schirmer continues to set a stan paniment, SATB chorus part (extras are setting, and includes a unison verse and dard for excellence that should be a 25ceach), optional string bass, guitar(s), one chorale-like verse. Fairly simple to model for the entire industry. and drum parts. Following are the learn and tuneful. tunes available on this series: It Doesn't Seem Lil.e Christmas -F-3, Closing with a few random items All I Have To Do Is Dream (AR-11p), SSA, 30c. Directors may find this a wel worthy of 'your examination, we would Bonaparte's Retreat (AR-12p), Cold, Cold come addition to the secular girls' choir like to call attention to three from Carl Heart (AR-13p), Gonna Find Me a Blue Christmas repertoire. Can be performed Fischer, Inc. Festival Processional, by bird (AR-14p), Half As Much (AR-15p), by a large choir or small ensemble with Irvin Cooper, is a gradiose conception Hey, Good Lookin' (AR-16p), I Can't equal success. Piano accompaniment, utilizing mixed voices, optional brass ac stop Loving You (AR~17p), Jambalaya words by David Davenport, pop in form, companiment, and piano or organ ace. (AR-18p), Jealous Heart (AR-19p), Mam with a flowing melody and close 3-part It's outstanding feature is the incorpor ma, Don't Cry at My Wedding (AR writing. ation of well-known hymns into the body 2p), Tennessee Waltz (AR-21p), and Your LUDWIG MUSIC PUBLISHING CO. of the piece, and it should serve well in Cheatin' Heart (AR-22p). a variety of settings. No. 04490, Vocal Behold, God Is My Salvation.- Theron Score $1.00, Brass Parts $2.00, extra C. F. PETERS CORP. Kirk, L-1126, SATTB, 30c. Using text parts each 40c. Edward G. Mead's an Ave Maria - Johannes Brahms, edited from the Book of Isaiah, changes of pace them, Sing unto the Lord; All the Earth, by Jean Lunn, P66136, SSAA, 30c. The and meter, a combination of both con eM 7543, 30c, is easy and very singable, words of the "Ave Maria" text lend trary-motion open fifths and full har for SATB w/org or piano. From the St. themselves beauti,fully to the Brahms mony, and a rhythmically strong "Sing Matthew Passion, the double chorus gift of harmonic richness and melodic Unto-the-Lord" section, ACDA member SATB, Here Yet Awhile, by J. S. Bach, structure. There is an interesting inter Kirk has created a dynamic, inspiring should see plenty of festival perform play throughout between .the two soprano anthem. ances this coming spring. CM 7618, parts and the alto parts, with the four Psalms of Celebration - Paul W. Wheal', SATB/SATB w/piano, 30c. voice parts seldom singing the same L1129, SATB, $1.50. In this work, Mr. Finally we would like to mention a rhythmically, except toward the conclu Wheal' has again proven his supreme Persian Folk Song, edited by Norman sion. Latin and English texts, and piano mastery in the instrumental-choral me Phillips and published by Jusko, for or organ accompaniment are provided, dium, combining a beautiful wedding of whom The Willis Music Co., Cincinnati, and orchestral parts are available on words and vocal line with a tremendous Ohio, is the sole selling agent. This is rental. concept of a musically independent ac a nicely modal piece, complete with hand God Is Our Refuge (Psalm 46) - Johan companiment that is still always con clapping .and a busy' piano accompani H. Roman, English version by Jean Lunn, scious of and helpfUl to the voice parts. ment, and if you are looking for the final P66122, SATB, 40c. This is one of the For this dramatic commissioned work, SEPTEMBER-OCTOBER 1967 33 Mr. Wheal' selected 4 Psalms, using selection a cappella and perhaps this is Good News; Gretchaninoff, Song of Psalm 138 for Part I, Psalms 92 and 133 where the basic challenge begins. With Simeon. for Part II, and Psalm 47 for Part III. no accompaniment selections added to ACDA members will find this record lt is scored for full orchestra, but organ the program for the sake of variety, ing a fine addition to their library of alone could be used. The score is avail any choral group that performs T'~usic sacred works. When ordering, please able on a rental basis. Each of the 3 of one basic type (in this case, all a write to A Cappella Choir, Cathage Col choral sections can be purchased sepa cappella) must provide a variety of tonal lege, Kenosha, Wisconsin 53140. rately for 50c. Look at this one: if's colors to maintain interest on the part exciting! -Kent A. Newbury of the listener. In most of the works The JUBILEERS, 1967. Lane D. Justus, presented on this disc, Mr. Windh meets director. Monaural, 12" LP. Price: the challenge with a high degree of suc $4.00 J. FISCHER & BRO. cess. The Jubileers are a group of twenty-two o Come, 0 Come, Einmanuel - Richard There always exists a difference of mixed voices selected from the 370 stu Monaco, arr. SSAA, 9718, 25c, unaccom opinion on the chqice of vowel- sounds dents enrolled in vocal music activities panied. for some words; and with this group at Palo Verde High School in Tucson, The Christmas Symbol - Kathryn Hill this writer hears one particular vowel Arizona. The singers have performed for Rawls, unison, 9715, 25c, organ acc. that can mislead a listener: for example, many educational groups including the Alleluia, Christ Is Born! - Louita Clo the word "spirit" in the Bach Jesu, Arizona Music Association and the West thier, SATB, 9712, 30c, organ or piano. Priceless Treasure or the word "sing" in ern Division Convention of MENC at We Sing The Birth Was Born Tonight the Praetorius work Now We Sing, the Las Vegas where the choir was selected - David A. Wehr, SATB, 9714, 25c, choir choir sings the vowel (I) as in me rather to demonstrate contemporary music at and organ. than the correct vowel (I) as in it. (For a session led by Jean Berger. The Three lUngs Robert Elmore, the sake of consistency, vowel symbols The compositions represented in this SATB, 9716, 25c, unaccompanied. are those represented in the Internation record demand much rehearsal; these Arise, Shine; for Your Light Has Come al Phonetic Alpha.bet.) This voweI sub works must be regarded somewhat dif Richard Monaco, SATB, 9719, 30c, stitution is particularly obvious in the ficult in classification and herein lies piano acc. melismatic technique employed in the the basic problem on the first side of this disc. The continuous program of VOLKWEIN BROS. INC. word "spirit" of the Bach work men tioned above. Other examples of the demanding works by this fine group asks I Lift Up My Eyes - SATB, Sop. solo, same vowel (I) occur in words such as too much from their voices. Generally, 25c, organ acc. "kingdom", "fear", of the Gretchaninoff the sopranos sound thin and pinched in the higher tessituras and the basses OXFORD UNIVERSITY PRESS Our Father and also the word "within" in the Berger setting of Why Art Thou throaty for their lower tones. Also, sev o Lord, In Thy Wrath Rebuke Me Not Cast Down, 0 My Soul en of the nine works on side one of this - Orlando Gibbons, SSAATB, opt. organ. record are contemporary works; one de A Child Lies In The Manger - Richard Now We Sing, which is an English tects a monochromatic tone quality. On Graves, arr., SATB, unaccompanied. translation of the original Psallite, lacks the positive side, there does exist some Patapan - Reginald Jacques, arr., two the rhythmic pUlsation inherent in the very fine .performances in selections like part, opt. flute and drum. original Latin and German setting. The the Houston Bright Rainsong and Ber~ Balulalow - Christopher Brown, SATB, performance is very adequate, but the ger's score of Lonely Woodpecker with unaccompanied. light texture is lacking in this transla its Ught, rhythmic passages that are tion. - A Sussex Drinking Song - Peter Cork, clear and very stylish. This writer is two-part, piano acc. Jesu, Priceless TreasUre, a motet for also impressed with the Jubileers treat Psahn 150 - Zoltan Kodaly, Sop., mezzo five voices is a demanding .piece, and ment of Le Jeune's I Weep, a madrigal sop., alto, unaccompanied. like all of Bach's motets, this work -de from the Renaissance Period. Orlando o Sacrum Convivium - T. L. de Victoria, mands outstanding voice ranges and a Gibbons' 0 Lord, Increase My Faith re T.T.Bar.B., unaccompanied. wide variety of expression. Generally, ceives .a good performance, particularly German Magnificat - Heinrich Schutz, the Carthage College Choir meets these in the difficult polyphonic sections. SSAATTBB, organ and opt. instrumental requirements although there are signs of The Jan Bender work, Hodie Christus ensemble. the voices tiring in some phrases. In Natus Est is a well-controlled expression Sundowners' Song Book Collection, the softer passages, the choir loses its although the "Gloria" section seems to unison (opt. par-singing), piano or gui diction and the tenors do not balance lack vitality and brightness in regard to tar acc. the chord in the final note - the third tone color. Except for a few words, the Now Carol We - Inglis Gundry, Ed., of the chord which the tenors sing is Latin diction is acceptable: the h in SATB, unaccompanied. overpowering. "hodie" should be silent; the Latin vowel Seven Lincolnshire Folk Songs - J;"ercy The Gretchaninoff Our Father receives spelled with an i should sound like the Grainger, collector; two-part choir; choir, a very fine performance with only one (I) as in me, not the (I) as in it. piano and percussion (2 players). point of reference for improvement: the The word "spirit" seems to be trouble Twenty-One Songs from Many Lands bass sections' lowest tones in the last some for many choral directors. There Roger Fiske and J. P. B. Dobbs, arr.; phrase sound forced in the throat; per is no (i) as in me. Also the I' in the SATB, unaccompanied. haps the men were too concerned .with word "spirit" is connected with the Catches For Men's Voices - Henry Pur volume rather than quality. The Fetler second syllable, not the first syllable. cell, unaccompanied. work Sing Unto God receives a very en This is noticeable in the Berger Better -Rodney A. Walker thusiasticperformance. This composition It Is To Be Of An Humble Spirit. The is a challenging work with many synco word "destruction" in the same work re pations and meter changes. The rhyth ceives too much stress on the second Record of the Month ... mic drive is felt throughout the work; syllable. Stravinsky's Ave Marie and the in the phrase "His excellency is over Berger Arise, Shine are exact and de Anthony C. Cappadonia Israel" this writer feels the accents over serve much praise. each syllable demand longer vowel sounds Side two consists of popular tunes of State University of New York rather than the staccato effect heard. Box 564, Alfred, New York 14802 which Solitude, arranged by Ralph Hun The Fischer-Kranz work Song of Mary ter (published by Mills A211) receives a with Miss Karen Snodgrass as soloist is very creditable performance even though A CONCERT OF SACRED MUSIC. The very impressive. A Cappella Choir of Carthage Col the soprano obbligato on the final two measures doesn't match the .fine singing lege, Kenosha, Wisconsin. J 0 h n The total program includes: Side one, Windh, director. Monaural. 12" LP. Bach, Jesu Priceless Treasure; Praetor of the previous incidental solo "fill-ins." $3.50. ius, Now 'Ve Sing; Victoria, 0 Magnum The short solo parts indicate that the MysteJ'ium; Vulpius, Jesus Said To The performer is too close to the microphone. The occasion for this recording was Blind Man; Gretchanino£f, Our Father; The ballad When I Fall In Love is sung the Annual Home Concert presented in Berger, Speak To One Another of Psahns. in good legato style as ballads should April, 1967 after ten performances at Side two: FeUer, Sing Unto God; Chris sound. Miss Joyce Carter sings a very various churches in Illinois, Michigan tiansen, How Fair the Church; Berger, adequate solo in the tune Greenfields. and Wisconsin. The A Cappella Choir of Why Art Thou Cast Down; Christiansen, 1\ly Coloring Bool{ is a very fine song al Carthage College performs a variety of Jesus Was Born on This Day; Fischer though it is rather lengthy. This side choral literature including works from Kranz, Song of Mary; Wetzler, Sing We ends with a group named 2 Plus 2 who the Renaissance through the Contempor With a Merry Heart; R. Shaw, Saints give enthusiastic settings of Guantan~ ary Period. This choir does sing every Bound for Heaven; Dawson, Ain't That mea, One Fine Day and the excellent 34 THE CHORAL JOURlIIAL Jobim song, The Girl from Ipanema. chorus unaccompanied. (Westwood Press, or money spent for facilities and equip The record of the Jubileers may be 2145 Central Parkway, Cincinnati, Ohio ment. obtained by writing to Mr. Lane D. Jus 45214). For you conductors who are al -How to plan a personal curriculum, tus, 6072 E. 27th St., Tucson, Arizona ways squalling about not being able to formal and informal, as a lifetime blue 85711. to: do contemporary pieces because of the print for professional development. dearth of tenors, try these! Modern, Each chapter contributor represents tasteful, and if you have the insights to the experienced insight of years in solv Chamber Choir understand them, the singers will have ing choral director's problems. Wiley L. the enthusiasm. (ESE-1407-7, 35c). Housewright contributes on the topic of JACK BOYD And if you really have no men, look personal and professional development, at J'ohan Franco's Seven Songlets, a song offering a lifetime gUide. Choosing music 709 Fifth Avenue Place cycle for SSA With piano. These are Coraville, Iowa 52240 for performance offers suggestions from one- and two-page pieces in contrasting Harold A Decker; suggesting music lists Among other problems, one thing emotions, some two-part, some three and the permanent reference file. part, one unaccompanied. Excellent writ that has been bugging modern theolo Other topics bring respected choral ing. Greenwood Press (same address as gians is the question: "How contem leaders to the reader, such as - Hugh porary can you get before you lose the Westwood Press in the previous para Thomas with a practical guide to style, congregation?" Since it's a subjective graph), ESE-1156-3, 40c. Dallas Draper on contests and festivals, question to begin with, and has so many To top off this issue, look at Tlu'ee Wayne S. Hertz on physical facilities variables, we'll leave the question and Spanish Choral Anthems (Alexander and equipment, Warner Lawson with re go on to the music. Broude, 120 West 57th St., N.Y.C., 10019). hearsal techniques, Hugh Ross present No.1. Alabado Sea EI Santisima (Hal Marks Music Corp., 136 West 52nd St., ing the challenge of performance, Louis lowed Be Thy Glory, AB-141, 20c) and N.Y.C., 10019, has a set of pieces which H. Diercks concerning pUblic relations, No.3. Verbum Caro Factum Est (Sacred they call Rejoice!, with a subtitle of and Thomas Hilbish considering a pro Word is Now Alive) were the only ones Music for the WQrship of God in the gram of permanent value. received for review; but they are easy Twentieth Century. It is' a compilation Guidance is offered on topics of the of pieces ,by four composers, a price tag and quite attractive. The last mentioned voice class, chamber ensemble, summer of $1.00 on my copy and a note that has some places where soloists could be choral workshop, and the critical junior used to give a nice responsorial effect. there is an Easy Piano and All Organs t·: high years. The contributors' cumulative Folio, plUS a Guitars Folio. My own copy knowledge and experience are significant has the unison vocal line and chord in to the values of the book as a choral dications, so I'm unsure what the Gui Book Review ... guide. :.: tars Folio would add. It's recorded on Scepter Album 527, but a 7" recording DONALD l. BISDORF of brief excerpts is a help in understand 2465 Drew Street ing the sound. Clearwater Campus, St. Petersburg Junior College letter to the Editor There's a note to the choir director Clearwater Florida 33515 Dear Wayne: which says the pieces are for congrega I'm so pleased to find my article en tional use, but I question it. The music CHORAL DIRECTOR'S GUIDE, by Ken titled "Some Thoughts on Antiphonal is too exotic, which translates as hokey neth L. Neidig and John W. Jennings, Singing" in the July-August Choral Jour folkey, for my idea of worship or con 1967. 308 pp. $8.95. nal. gregational music. However, it might I note one error which should be cor make some attractive concert music for A useful outline and many illustrations rected. Jubilate Deio, and In Ecclesiis, a small vocal group of the makeup of are combined to bring guidance to the are, of course, by Giovanni Gabrieli not the Serendipity Singers or the Back choral director through prominent lead Claudio Monteverdi as the article seems Porch Majority. Despite the austere ers in choral music. Administrative man to suggest. The 7th sentence, paragraph titles ("Kyrie," "Nicene Creed," et aI), agement of choral music focuses on many 3, should read, "The height of this devel they bounce along in nice gUitar-with problems' which the school conductor opment at 'St. Marks, which began in emotion-striving style. You'll just have (who may be an instrumentalist) sud earnest with Adrian Willaert (c 1490 to give them a kick and see if they jump. denly finds pertinent. 1562) and continued even after the days I believe they will. In concert. Not in a Authors Neidig and Jennings have pre of the famous composer Monteverdi service. pared the text as a guide in an area of (1567-1643), was reached in the music of Getting more into the traditional vein practical problems where formal class Giovanni Gabrieli (1557-1612)." (Without hitting the jugular vein) the room study alone may not prOVide the You printed the article as I sent it to Mark Foster Music Co., P.O. Box 783, compendium of answers. Assistance is you, and the error was mine but with no Marquette, Michigan 49855 has a gorgeous given 011: chance to proof read it in printed form edition of Claudio Monteverdi's Laetatus -How to work with the administration, this escaped my notice. Sum (MF-109) in an edition by James colleagues, and the public to set up a' Yours very truly, McKelvy. Besides the music there is a successful choral program - that will LEONARD VAN CAMP fine four page preface which gives last. Director of Choral Activities sources, text, the formal construction, -How to find appropriate music of high Southern Illinois U. instrumentation, and several other things quality - for both training and per Edwardville Campus of interest to those desiring a successful formance - among the endless stacks of f'lVVV...... VVVVVVV (from the standpoint of both the music publications available. and audience) performance. These notes are exemplary and should be used as -How to develop a rehearsal technique Reprint~ standards for other editors. The original that will not only get the job done, mak Availahle: scoring of SSTTBB has been re-desig ing full use of every second of available nated (I hesitate to use "edited" or "ar time, but will provide a perpetual chal MATERIALS FOR CHORAL ranged" since these indicate tampering lenge and pleasant experience for the PRACTICES AND TECHNIQUES with the notes, which Dr. McKelvey in students as well. sists he did not do) for SSATB chorus -How to hold the interest of youngsters By only on the final five pages, the rest be through the critical junior high years. Bruce D. Hoagland ing taken by six soloists, SATBarBB. -How to synthesize and assimilate his The instrumentation is two violins, two background from the many required mu Single copies 50c trombones, bassoon, cello and keyboard sic courses into a practical guide to styl 12 or more copies 45c (piano, harpsichord and/or organ). istic performance. 35 or more copies ...... 40c Please, PLEASE don't let all of this -How to organize a chamber ensemble. technical description discourage you if Make Checks payable to your chorus is only of average ability. -How to produce a public performance This is the type of piece they can do that is musical, educational for the stu The Choral Journal with accuracy, integrity and enjoyment. dents, and yet will appeal to a non-,pro The full score is $1.50, choral score 35c fessional audience of parents, relatives, Send requests to and friends. and the parts only $5.00. It's a delightful Editor, The Choral Journal piece and the find of the month. -How to teach class voice lessons, or P. o. Box 17736 Tampa, Florida 33612 A Choral Miscellany is Henry Papale's how to get the most out of contests and name for four short pieces for SAB festivals, summer camps and workshops, SEPTEMBER-OCTOBER 1967 Choral Music Workshop at U. of Southwestern at Lafayette The Louisiana State Division of the demonstration of rehearsal techniques Advertisers .Index American Choral Directors Association, using some of the more difficult SATB the USL School of Music, and the State reading material. Department of Education co-sponsored a Exhibits and sightreading material Associated Music Publishers, Inc C2 choral music workshop July 20-21 on the were furnished by Werlein's Music Co., campus of the University of Southwestern New O'rleans, La. The accompanist for Bourne Co. 2 at Lafayette. Regina Walker, state ACDA the workshop reading session was Drew Broadman Press 1 Chairman, was chairman of the event. Shaw, choral director of Lee High School Christiansen Choral Series 6 Thirty choral directors from throughout in Baton Rouge and organist of the Collegiate Cap & Gown 11 the state attended the meeting. First Baptist Church. The accompanist The first day, the program included for the childrens' demonstration was Concordia Publishing House 7 a voice recital by Antonio Perez, voice Tommy Brown of Denham Springs. Carl, Fischer, Inc. 4 faculty at USL, a lecture demonstration Eleven new members were added to FitzSimons Co. 10 on "Vocal Techniques as Applied to ACDA. Educators Music Supply, Inc 32 Young Children" by Regina Walker, and a lecture demonstration by Cliff Caillouet Ireland Needlecraft 2 using members of his Franklin Parish The Putnam County Choral Society Kjos Music Co. 8 High School Boys Glee Club. now in its 23rd year was founded in' Ludwig Music Co., Inc. 11 1944 by Ruth Shaffner, who, is still the That evening the USL opera depart director of the very fine group which Marks Music 6 ment presented "Annie Get Your Gun," this past year has given performances MCA Music 5 under the direction of Beaman Griffin. of the Schubert Mass in G, the Vivaldi Oxford University Press 13 The second day of the conference in "Gloria",a:n annual performance of Han J' W. Pepper & Son . .' C3 cluded a ,panel discussion. Members of del's "Messiah''', and Haydn's "Creation", which was given both in Carmel, New C. F. Peters Corp. 5 the panel were L. Bruce Jones, LSU Theodore Presser Co. 8 School of Music; Dorman Clayton, Bolton York and Danbury, Conn. Next year the works to be perform,ed are the Mozart Richmond Music Press 7 High School at Alexandria, and Elton "Requiem", "Messia:h", and the Bach Sacred Music Press 9 Lamkin, State Supervisor of Music. A Passion according to St. Matthew. 'The members come from many distant points E, C. Schirmer 11 two hour reading session followed under G. Schirmer ;...... C4 the direction of the follOWing: Doris. outside Putnam County to rehearse each week, and all soloists are profes Volkwein Bros 10 Bienvenu, Lafayette, High School, Elton sional members of the group. They re C. E. Ward Co., The...... 4 Lawkin, E. T. McClung, Winnsboro High hearse and perform in Carmel, which is School, Frank Ricard, Jennings High the seat of Putnam County. Ruth Shaf School, and Harold Maples, Minister of fner was given the· "Woman of the Year" :In securing New Members or changing award by the Federated Women's Club your own address, be certain that both Music, First Baptist Church of Denham in 1964 for having contributed more than Address and Zip are plainly marked, and Springs. anyone else to the culture of Putnam your name is printed to avoid errors in At the final session Mr. Jones gave a County. copying. ICDA State Chairmen Alabama-John M. Fowler Jr., (HS), 1500 Primrose Place, Birmingham 35209 Montana-Arthur L. Brandvold, (HSj, 1417 Avenlie D, Billings 59102 Alaska-Elvera Voth, (C), 610 West 18th St" Anchorage 99501 Nebraska-Jack A. Learned, (HS), 2525 Del Monte, Grand Island 68801 Arizona-Kenneth W. Wells, (HS), 2111 Sierra Vista, Tempe 85281 Nevada~ Arkansas-A. F. Thomas Jr., (HS), 2301 Campbell Drive, Forrest City 72335 New Hampshire-Kendric Munsey, High School, Lebanon 03766 California-Lois M. Wells, (JC), 4310 Elrovia Ave" EI Monte 9'1732 New Jersey-Channing F. Coppage, (HS), I Edgewood Road, Metuchen 08840 Colorado-Alex B. Campbell, (Supr.), 460 South Sims, Denver 80228 New Mexico--Joe L. Carroll, (HS). 2207 Barnett Drive, Roswell 8820 I Connecticut-Charles H. Matz, (HS), 3 Friendly Road, Norwalk 06851 New York-Mrs. Dorothea Waddell, (HS), Skunk Hollow, Huntington 11743 Delaware-J. Lawrence Coulter, (Supr.), 627 West 39th St., Wilmington 19802 North Carolina-Paul W. Peterson, (C.), 345 ,Pennsylvania Ave., Winston-Salem 27104 ' District of Columbia-Vito E. Mason, American University, Massachusetts and Nebraska Aves., NW., Washington 20016 North Dakota-Hardy D. Lieberg, (HS), Rte. 3, Box 923, Minot 5870 I Florida-Peggy Joyce 8arber, Stranahan HS, 1800 SW 5th PI., Ft. Lauderdale 32312 Ohio-Ernest L. Hisey, (HS), 179 Oakwood Drive, Avon Lake 44012 Oklahoma~harles Georgia-James E. Dooley, (C), '190 Lanier Court, Athens 3060 I W. Robison, (Supr.), Box 26, Edmond 73034 Oregon- Robert B. Walls, Dir., Dept. of Mus., Oregon State U., Corvallis 97331 Hawaii-Dale R. Noble, (HS), 2223 Aupuni St" Honolulu 96817 Idaho-James Gabbard, 102 Sunnyside Drive, Caldwell 83605 Pennsylvania-William K. Decker, (C), 130 Sherwood Drive, Bloomsburg 17815' ~airway, Illinois-Richard D. Hoffland, Millikan University, Decatur 62521 Rhode Island-John C. Higby, (HS), 150 Wickford 02852 Indiana-Jerry R. Hoover, (HS), 2250 Swinging Way, Evansville 47711 South Carolina-Mrs. Marie W. Brown, (HS), 911 Rickenbacker Road, Columbia 29205 Iowa-Gordon H. Lamb, (HS), 1410 Early St., Sac City 50583 South Dakota-Stanley G. Rishoi, (HS), 1306 3rd. Ave. NE, Watertown 57201 Kansas-John Sample, (HS), 2314 South Crestway, Wichita 67218 Tennessee-Robert W. LaPella, East Tennessee State Univ., Johnson City 37601 Kentucky-Robert K. 8aar, Murray State College, Murray 42071 Texas-Jim L. Casey. (HS), 1411 Spur, Odessa 79760 Louisiana-H. Dorman Clayton (HS), 1708 Horseshoe Drive, Alexandria 71301 Utah~Lorraine Bowman, (HS), 1785 Herbert Ave., Salt Lake City 84108 Maine-Donna A. Trefrey, (Supr.), 34 Gleckler Road, Portland 04103 Vermont-Mrs. Isabelle Erickson, (Supr.), 10 Harvard St., Springfield 05156 Maryland-Lois M. Rogers, (Supr.), 705 Americana Dr., Apt. 57, Annapolis 21403 Virginia-Alton L. Howell, (Supr.), 4207 Monument Ave., Richmond 23230 Massachusetts-Allen C. Lannom, 'Boston Univ., 855 Commonwealth, Boston 02215 Washington-Coyne G. 8urnett, (Supr.) 913 East 8th Ave., Ellensburg 98926 Michigan-Thomas Hilbish, School of Music, U. of Mich .• Ann Arbor 48104 West Virginia-Erma C. Brooke, (HS), 719 Indiana Ave., Charleston 25302 Minnesota-Roger H. Tenney, (HS), 758 Rolling Green Drive, Owatonna 55060 Wisconsin-Bernhardt H. Westlund, Milton College, Milton 53563 MiSsissippi-J. Leslie Reeves, Hinds Jr. College, Raymond 39154 Wyoming~Clarice J. Shubert, (HS)" 1711 E. 21 st St., Cheyenne 8200 I Missouri-W. Everett Hendricks, (C), 6161 Locust, Kansas City 64110 Canada-Erie Terry, (C), 381 St. George St., London Ontario 36 THE CHORAL JOURNAL PROGRAM NO. 1- Music of G. Schirmer Inc., recorded For Choral Directors: by University Chorale and ensembles of Hartt College of Music, Unlv. of Hartford, Conn., directed by Gerald Mack: Change some of that "planning time" to "rehearsal time"! Take three CANTATE DOMINO (Croce); EVENSONG (HaYdn); BRAUSTEN ALE weeks to read the scores while you listen to this top quality, easy-to BERGE (Brahms); WONDROUS COOL, THY WOODLAND QUIET (Brahms); FOUR CHORALES from "ST. PAUL" (Mendelssohn); medium choral music from G. SCHIRMER, GALAXY, MARKS, E. C. SCHIR HOLIDAY SONG (Wm. Schumann); SOFTLY ALONG THE ROAD OF EVENING (Sven Lekberg); SURE ON THIS SHINING NIGHT MER ... by such choral greats of yesterday and today as Sven Lekberg, (Samuel Barber); UNDER THE WILLOW TREE (Samuel Barber); LULLAY MY LIKING (Holst); O'ER THE SOLEMN HUSH OF MID· Haydn, Bach, Brahms, Samuel Barber, Randall Thompson, Daniel Pink NIGHT (J. Geddis Maxwell); THREE HUNGARIAN FOLKSONGS (Matyas Seiber); LOVE WILL FIND OUT THE WAY (English Folk); ham, Arthur Frackenpohl and a host of others. CHARLOTTOWN (Amer. Folk). Designed especially for school and college choral directors, each Sound PROGRAM NO.2 - Music by Galaxy Music Corporation, reo corded by Concert Choir and ensembles of Glassboro State Programming Packet contains a 12-inch 33Ya LP record and one copy College (N. J.) directed by Clarence W. Miller, Jr.: SONG OF PRAISE (Carl Sitton); BLESSED IS THE MAN (Sven Lekberg); of each of the recorded octavos, answering a long-awaited demand in TURN BACK 0 MAN (Holst); HERE REPOSE, 0 BROKEN BODY music education. The selections - previously unavailable in record form (Daniel Pinkham); SING ALOUD TO GOD, OUR STRENGTH (Eugene Butler) (SAB); MAN IN HIS LABOUR REJOICETH - were recorded exclusively for Pepper by special arrangement with the (John Ireland); I'M GONNA SING (Spiritual-Fred Fox); SWEET DAY (Vaughn Williams); GO, LOVELY ROSE (Thiman); BE publishers, by University Chorale and ensembles at Hartt College of GONE, DULL CARE (Gordon Jacob); FLOWER OF BEAUTY (Clements); JUST AS THE TIDE WAS FLOWING (Vaughan Music, University of Hartford, Conn., under the direction of Dr. Gerald Williams); YANKEE DOODLE (Arr. David Hindley). Mack, and Concert Choir and ensembles of Glassboro State College PROGRAM NO.3 - Music of E. C. Schirmer Company, reo (N. J.) under the direction of Clarence W. Miller, Jr. corded by University Chorale and ensembles of Hartt College of Music, Univ. of Hartford, Conn., directed by Gerald Mack: NOEL OF THE BRESSAN WAiTS (Bressan Carol-K. K. Davis); A SPECIAL BONUS OFFER. While Sound Programming records themselves STAR IS MOVING THROUGH THE SKY (Medieval Carol-Lund· quist); CHRISTMAS EVE (Daniel Pinkham); PIPING ANNE & are not for sale, they can be yours free with a reasonable minimum HUSKY PAUL (Daniel Pinkham); THE PAPER REEDS BY THE purchase of music. Should you decide not to order, simply return the BROOK (R'andall Thompson); THE GATE OF HEAVEN (Randall Thompson); SO WELL I KNOW (Vecchl); REST, SWEET NYMPHS packet at the end of the 3-week approval period. (Pilkington): 0, EYES OF MY BELOVED (di Lasso); AGNUS DEI (Frank Kendrie); LO, MY SHEPHERD'S HAND DIVINE (Haydn); HUMBLY KNEEL WE BEFORE THEE (Mozart); 0 ACT TODAY. Tell us which of the four programs you'd like to "audition" REJOICE, YE CHRISTIANS, LOUDLY (Bach). by checking the appropriate blocks on the coupon. Be first to take ad PROGRAM NO.4 - Music of Edward B. Marks Music Cor· vantage of Sound Programming-the new way to better, more fulfilling poratlon, recorded by University Chorale and ensembles of Hartt College of MUSIC, Univ. of Hartford, Conn., directed by music programs! Gerald Mack: AWAKE THE TRUMPETS LOFTY SOUND {"Samson" -Handel; SANCTUS (Mass in B Flat-Haydn); LACRYMOSA ("Requiem"-Cherubim); KYRIE (Missa Brevis"-Mozart); UNTO HIS HOLY NAME SING PRAISES (Cantata #142-Bach); r------,Send this coupon to the nearest Pepper headquarters: I lAUDATE DOMINUM (Hassler); DIES SANSTIFICATUS (Handel); GOOD NEIGHBOR, WHENCE CAME THAT GREAT SOUND? J. W. Pepper, 231 North Third St., Phila., Pa. 19106 (Gevaert); LOVERS LOVE THE SPRING (Arthur Frackenpohl); LOVE IS LIFE'S END (Robert Starrer); IF I HAD WINGS (Max J. W. Pepper, 4273 Wendell Drive S.W., Atlanta, Ga. 30336 Reger); NOW MAY HAS COME WITH GLADNESS (Schoenberg); FOUR FOLK SONGS (Brahms); DRAW THE TEAR FROM HOPELESS Please send me, on 21-day approval, the Sound Programming packet(s) LOVE ("Solomon"-Handel); GALLANTS WHO HAIL FROM LAND have encircled below, along with information as to how I may order AND SEA (di Lasso). music and earn the record(s) as a bonus. If I decide not to order, all I need do is return the record(s) and scores at the end of the approval period, Name _ Tltle _ Organizatlon _ Address _ City ,State ,Zip~ _ Program No(s).: do 1 2 3 4 I do not presently have a Pepper account. .... ------_... _... ------_... - ... --.. SEPTEMBER-OCTOBER 1967 C3 · '. For mixed voices unless' otherwise indicated. 609 FIFTH AVENUE, NEW YORK, N. Y. 10017 C4 THE CHORAL JOURNAL th€ madItIon of chQI tmas A selection of outstanding choral music for the Christmas season, based on traditional texts and melodies from many lands. mlx€b chOQUS GEORGE CORY Carol based on "The First Noel". SATBB a cap (A 167) .25 PETER MAXWELL DAVIES Nowell. Carol on a Medieval text. SATB a cap (Schott) .35 DOREEN DROSTE A Babe Lies in the Cradle. German carol (1649). S & A soli; SATB a cap (A 462) .25 ROBIN ESCOVADO What Child is This? Traditional text. SATB a cap (A 547) .25 CHRISTOPHER GLEDHILL Mary the Virgin Sings a Song. Arrangement of a folk song. SATB a cap (C 217) .20 PHILIP GORDON A Little Child. Arrangement of a Dutch Christmas carol. SATB & piano ad lib (A 246) .20 RAYMOND VUN KANNON Hodie Christus natus est. Gregorian chant text. SATB & 0 rgan (A 403) .25 3 trumpets, 2 trombones & timpani, set of pts 1.00 ULYSSES KAY A Wreath for Waits: Traditional texts. SATB a cap 1. Noel (A 209) .20 2. Lully, Lullay (A 210) .20 3. Welcome, Yule (A 211) .25 ALBERT KRANZ Christmas Choruses. Arrangements of traditional carols. SATB a cap 1. Mary Sat Spinning (A 571) .25 2. Gentle Christ, My Lord Above (A 572) .25 3. Come Ye to Bethlehem Apace (A 574) .25 NORMAND LOCKWOOD A Babe Lies in the Cradle. German carol (1649). SATB & piano (A 235) .25 Here 'Mongst Ass and Oxen Mild. French carol. SATB & piano (A 234) .25 Joseph, Dearest Joseph. German carol. SATB & piano (A 233) .25 H. A. SCHIMMERLING St. Joseph. Slovenian folk song. SATB divisi, a cap (A 230) .20 Mary's Cradle Song. Montenegran folk song. SATB a cap (A 238) .20 WILLIAMETTA SPENCER As I Rode Out This Enders Night. Anonymous text (1534). SATB a cap (A 299) .20 As I Sat Under a Sycamore Tree. Traditional text. SATB a cap (A 300) .20 3 SPANISH 16th-Century anonymous settings (Greenberg). CHRISTMAS CAROLS Spanish & English: 1. E la don, Sweet Virgin Mary. Baritone 5010; SATB a cap (percussion ad lib) (N 8) .25 2. Sons of Eve, Reward My Tidings. S.solo ad lib; SATB a cap (N 9) .25 3. Riu, Rfu, Chfu. Baritone or Bass 5010 ad lib; SATB a cap (percussion ad lib) (N 10) .25 ANTHONY VAZZANA Ring You Merry Chime. 16th-Century traditional melody. SATBacap (A 481) .25 SSAA a cap (A 482) .25 HEALEY WILLAN Welcome, Yule. Traditional text. Baritone solo ad lib; TTBI3 a cap (SSA ad lib) (C 208) .20 JOHANN WALTHER Joseph, Dearest joseph Mild (1551). German carol. SSATI3 a cap. English & German (A 400) .25 Associated Music Publishers,Inc. A SUBSIDIARY or G. SCHIRMER.. INC. 609 FIFTH AVEN.UE. NEW YORK. N.Y. 10017· C2 THE CHORAL JOURNAL