VOICES MAKE THE MUSIC. ~ Free the Voices ... Free the Music. ~ . VOICECARE THE VOICECARE NETWORK NETWORK Invites You To The Twentieth Annual International Course LIFESPAN VOICE EDUCATION IN THE REAL WORLD

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Endorsed by the .National Association of Teachers of Singing and American Choral Directors Association of Minnesota, Affiliated with The National Center for Voice and Speech To receive a brochure, complete the form below and send to: Axel Theimer • The VoiceCare Network • Department of Music st. John's University, Collegeville, MN 56321 (320) 363-3374 • FAX (320) 363-2504 or request via e-mail: [email protected] • http://www.csbsju.edu/voicecare

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VOICE CHANGE CAN STOP THE SINGING ... OR RELEASE MORE OF IT. March 2002

Carroll Gonzo .. Ron Granger EDITOR MANAGING EDITOR

OFFICIAL PUBLICATION OF THE AMERICAN CHORAL DIRECTORS ASSOCIATION COLUMNS ARTICLES

From the Executive Director 2 Consistency and Change in the From the President ...... 3 Sacred Choral Anthems of From the Editor ...... 4 Herbert Howells Letters to the Editor ...... 5 by Jeffrey Richard Carter . 11

Student Times ...... 37 The American Choral Tapestry: Lori Wiest, editor The Land and its Settlers 2002 Summer Festivals by David P. DeVenney 23 & Workshops ...... 41 Research Report ...... 63 Lawrence Schenbeck, editor Baltic Portraits: Urmas Sisask: Book Reviews ...... 71 Estonia'sComposeri Astronomer Stephen Town, editor by Vance Wolverton 31 Choral Reviews ...... 75 Richard Nance, editor

Repertoire and Standards Committee Reports ...... 67 Advertisers Index...... 88

Cover art by Efrain Guerrero, 'graphic artist, Austin, Texas. AFFILIATED , .ORGANIZATIONS FROM THE INDIANA CHORAL DIRECTORS ASSOCIATION EXECUTIVE DIRECTOR President - Eric Stark .' 637 East McCarty Street Indianapolis, Indiana 46203

Treasurer - Paula J. Alles 1471 Altmeyer Road New York 2003! Jasper, Indiana 47546 IOWA Interest and anticipation for the 2003 ACDA CHORAL DIRECTORS ASSOCIATION President - Vernon Haagsma National Convention continues to grow. There is 514 Madison Street greater interest in the New York City Convention Pella, Iowa 50219 than for any previous ACDA national convention. Secretary/Treasurer - Bruce A. Norris 404 Maple Street Growth in ACDA membership and pre-registra­ Mondamin, Iowa 51557 tion numbers for the current season of division AMERICAN CHORAL DIRECTORS conventions indicate that the 2003 National Con­ ASSOCIATION OF MINNESOTA President - Kenneth Hodgson vention will have record attendance. The 2003 Route 3, Box 48 National Convention will be a showcase of our Morris, Minnesota 56267 choral art-in education, practice, and perfor- Gene Brooks Treasurer - Charles Hellie 306 North Elm mance. Saule Centre, Minnesota 56378 Performance venues will be in some of New York City's historic concert halls, MONTANA including Carnegie Hall, Lincoln Center, and the magnificent and historic River­ CHORAL DIRECTORS ASSOCIATION President - John Haughey side Church. A wide selection of first-class hotels has been secured, all in the 2126 Northridge Circle middle of one of the most culturally diverse cities in the world. Billings, Montana 59102 We hope you are submitting an audition tape/CD of your choir. Guidelines and Treasurer - Scott Corey Billings Senior High School audition forms appeared in the October, November, and December 2001 issues of 425 Grand Avenue the Choral Journal The postmark deadline for audition tape/CD submission is Billings, Montana 5910 1 March 30, 2002. If you have not already submitted your audition tape, let me NEBRASKA encourage you to do so immediately. We anticipate receiving the largest number of CHORAL DIRECTORS ASSOCIATION President - Joel Johnston audition tapes/CDs ever submitted for a performance on a national convention 15317 Howe Street program, and want to have every area of choral music represented. Omaha, Nebraska 68144 We encourage your singers to participate in one of the three honor choirs. The Treasurer - Milee Morris 1335 Doane Drive three honor choirs on the national convention program-Junior High/Middle Crete, Nebraska 68333 School Honor Choir, conducted by Henry Leck; Women's Honor Choir, con- . OHIO ducted by Judith Willoughby, and Boy's/Men's Honor Choir, conducted by Bob CHORAL DIRECTORS ASSOCIATION President - Lucinda Houck Chilcott, will be one of the highlights of the convention. Encourage your singers to 193 Fairfax Road audition for this once-in-a-lifetime opportunity. Information and forms concern­ Marion, Ohio 43302 ing. auditioning . for the.. Women's Honor Choir and the Boy's/Men's Honor. Choir tion for the Junior High/Middle School Honor Choir will appear in the August TEXAS and September issues of the Choral Journal CHORAL DIRECTORS ASSOCIATION President - Donald Bailey Preparing for the national convention always generates a great many mailings of 202 Trailview Drive important convention information. Program book advertising information will be Woodway, Texas 76712 mailed on June 1, 2002; exhibitor information will be mailed on July 1, 2002, and Treasurer - Kelly Moore 4021 Timberidge Drive pre-registration information will be mailed on September 1, 2002. In addition, Irving, Texas 75038 pre-registration information will also be printed in the September through Decem­ WISCONSIN ber issues of the Choral Journal CHORAL DIRECTORS ASSOCIATION President - Lucinda Thayer Excitement for the 2003 National Convention is building! Make plans now to Department of Music be in New York City February 12-15, 2003, for the next ACDA National Conven­ University of Wisconsin Stevens Point, Wisconsin 54481 tion.

Treasurer - Janet 1. Herrick-Stuczynski 2225 Wedemeyer Street Sheboygan, Wisconsin 53081 Gene Brooks NATIONAL

OFFICERS ,

PRESIDENT David Stutzenberger ',' FROM , THE School of Music. University of Tennessee Knoxville, Tennessee 37996 865/974-8608 (voice); 865/974-1941 (fux) I PRESI DENT VICE-PRESIDENT Milburn Price School of Music. Samford University Birmingham, Alabama 35229 205/870-2778 (voice); 205/870-2165 (fux) [email protected] PRESIDENT-ELECT Mitz.iGroom On September 11, 2001 the world was shocked Department of Music. Western Kentucky University 1 Big Red Wa)' by the events that took place in the United States. In Bowling Green, Kentucky 42101 270/745-3751 (voice); 270/745-6855 (fux) the aftermath of these savage acts, I found myself [email protected] wrestling with the question of how I might help TREASURER Maxine Asselin confront the inhumanity that exists in the world . .& 3 Holly Road Taumon, Massachusetts 02870 I struggled with this question, the words of Franklin 508/822-2820 (voice); 508/884-3404{fux) [email protected] D. Roosevelt helped me focus on ways that my EXECUTIVE DIRECTOR practice of the choral art could help deal with this Gene Brooks P.O. Box 6310, Lawton, Oklahoma 73506 problem. He stated: "If civilization is to survive, we 580/355-8161 (voice); 580/248-1465 (fux) [email protected] must cultivate the science of human relationships­ CENTRAL DIVISION PRESIDENT the ability of all peoples, of all kinds, to live together, Gordon Krauspe Wheaton-Warrenville SoUth High School David Stutzenberger in the same world in peace." Wh:;,~~,1ill~orr~JI87 .& choral conductors we have numerous oppor­ 630/682-2128 (voice); 630/682-2042 (fux) [email protected] tunities to foster human relationships. First among these is the capacity to motivate EASTERN DIVISION PRESIDENT our singers and audiences to mankind's advancement through the performance of D. Douglas Miller Pennsylvania 'State University choral music of the highest standards . .& Robert Shaw once stated, " ... the arts 107 Music Building I University Park, Pennsylvania 16802 remain the greatest heritage and stimulus to an advancement of the human species, 814/865-0432 (voice); 8141865-6785 (fux) [email protected] to further generations of evolution." .& part of every choral experience, we have the NORTH CENTRAL DIVISION PRESIDENT challenge to make the singers aware that they must put aside their individual Robert G. Youngquist Washington Senior High School differences and work together toward a common goal. This requisite for successful 313 South 4tfi Washington, Iowa 52353 ensemble singing is also a humanizing endeavor that gives us experience in living 319/653-2143 (voice); 319/653-6751 (fux) [email protected] together as a peaceful community. NORTHWESTERN DIVISION PRESIDENT If we accept the premise that music can in some way reflect the culture of its Karen Fulmer origin, then another opportunity for developing relationships is through the study Sum~506~ilfo~ig~r:e~hool and singing of music of other ethnic groups. In order to achieve this, we must select SU253/'s~':5~8f(v~?c~f90 [email protected] from the wealth of multicultural choral music that is readily available for use as SOUTHERN DIVISION PRESIDENT repertoire with our school, church, community, or professional choirs. In addition, Andre Thomas School of Music, Florida State University we must teach the songs from different cultures that are contained in many of the Tallahassee, Florida 32306 850/644-2730{voice); 850/644-6100 (fux) newer school music series textbooks and the newer editions of hymnals. [email protected] The promotion of cultural exchange through the hosting of performances and SOUTHWESTERN DIVISION PRESIDENT Sally Schott tours by foreign choirs is another opportunity to facilitate human relationships. For Sou~~os~~ili~i~~~~hool some years, ACDA has recognized the potential of this experience and has invited South Houston, Texas 77587 713/944-2450 (voice) 7131948-4710 (fux) choirs from throughout the world to come to the United States to perform at [email protected] Division and National Conventions . .& a result of helping to host a Russian choir, I WESTERN DIVISION PRESIDENT Steven R. Hodson experienced the interpersonal expressions that can be cultivated by this type of Westmont College 955 La Paz Road encounter. Following their concert of indigenous Russian music, the visiting choir Santa Barbara, California 93108 805/565-6192 (voice); 805/565-7240 (fux) was to be hosted by families from a local church . .& the host families were waiting [email protected] to meet their overnight guests, it was apparent that only a few members of the INDUSTRY ASSOCIATE REPRESENTATIVE Earl Anderson Russian choir spoke any English and none of the host families spoke Russian. W5~ep;l:briv~on Because of the language barrier, it was apparent that the singers and their hosts were Owatonna, Minnesota 55060-0448 800/326-8373, =.294 apprehensive . .& the Russians prepared to leave the next morning for their destina­ PAST PRESIDENT'S COUNCIL tion, I observed a completely different scene. Instead of uneasiness and hesitation, James A Moore , School of MM~~(all.t i:~5al7~t University there were sincere expressions of friendship and camaraderie as evidenced by the 903/935-7963 (voice); 903/938-0390{fux) many moist eyes, hugs, and handshakes. [email protected] With today's sophistication and ease of mass communications, the phrase, "its a small world," is fast becoming a reality. The importance of learning to live together Maurice Casey Colleen J. IGrk Harold A. Decker William B. Hatcher as a peaceful world community is a goal for which we must all strive. One way that Diana J. Leland John Haberlen Russell Mathis Morris D. Hayes we can help to achieve this goal is by developing human relationships through our H. Royce Saltzman David Thorsen ~~r::d J:n~ister practice of the choral art. Lynn Whitten

David Stutzenberger EDITORIAL BOARD I.·.· EDITOR Carroll Gonzo : FROM Graduate Music Education/University of St, Thomas LOR 103/2115 Summit Avenue :.. : St. Paul, Minnesota 55105 .~ .. 651/962-5832 (voice); 651/962-5876 (fax) THE EDITOR [email protected] ASSOCIATE EDITOR : .. , Nina Gilbert Depactment of Music Lafayette College Easton, Pennsylvania 18042 610/923-9628 (voice); 610/33015058 (fax) In This Issue [email protected] MANAGING EDITOR Ron.Granger Herbert Howells, who lived to a ripe old age of P.O. Box 6310 Lawton, Oklahoma 73506 91, is, according to Jeffery Carter, remembered for 580/355-8161 (voicel; 580/248-1465 (fax) his contributions to Anglican Church music during [email protected] EDITORIAL ASSISTANT the twentieth century.. "Consistency and Change in Ann Easterling P.O. Box 6310 the Sacred Choral Anthems of Herbert Howells" is Lawton, Oklahoma 73506 an analysis of Howells's Haec dies, A Spotless Rose, 580/355-8161 (voicel; 5801248-1465 (fax) chojo@acdac;>nline.org Blessed Are the Dead, My Eyes for Beauty Pine, Re­ EDITORIAL BOARD MEMBERS quiem, and Take Him Earth for Cherishing. Carter Richard J. Bloesch School of Music, University of Iowa concludes that Howells's music is idiomatic, and Iowa City, Iowa 52242 Carroll Gonzo [email protected] always seems to fit the text and mood he seeks to David L. Brunner create. Howells's accomplishes this task through Depactmem of Music. University of Central Florida P.O. Box 161354 modal scale inflections, generous cross relations, and sinuous melodies derived from Orlando, Florida 32816 ancient chant, and through a sense of mystery and stateliness that leads to a certain [email protected] David Castleberry mood effect. Carter cites Christopher Palmer, who advances the view that Howells's Department of Music Marshall University "essential concerns [are for] line, texture, light, and polyphonic life." Carter con­ Huntington. West Virginia 25755 cludes that Howells articulates humanity and devotion in his music, and ranks with [email protected] J. Michele Edwards the great sacred composers of the twentieth century. 1844 Rome Avenue St. Paul, Minnesota 55116 Sharon A. Hansen "The American Choral Tapestry: The Land and Its Settlers" by David DeVenney Department of Music, School of Fine ArtS is a journey through aspects of American history as seen and depicted by artists and University of Wisconsin-Milwaukee P.O. Box 413 composers of their time. DeVenney sets the stage, beginning with the thirteen Milwaukee, Wisconsin 53201 colonies and concludes with some of the artistic activities of the twentieth century. [email protected] Victoria Meredith Cutting points in this article include composers and American choral works, music Faculty of Music, Talbot College University of Western Ontario depicting the northeastern wilderness, settling the West, transition to the twentieth London, Ontario N6A 3K7, Canada century, the American ethos coming of age, and later manifestations. DeVenney's [email protected] Richard Nance intention is to demonstrate how choral music has always been a central means of Department of Music, Pacific Lutheran UniversitY Tacoma, Washington 98447 musical expression in the United States~ Moreover, he asserts that choral contribu­ [email protected] tions to the' cultural history of the United States have long remained unexplored. This states DeVenney, is the focus of his article.

Robert Provencio Vance Wolverton has contributed a series of articles to the ChoralJournal focusing California State University-Bakersfield on Estonian composers. His latest, "Baltic Portraits: Urmas Sisask Estonia's Com­ 9001 Stockdale Highway Bakersfield, California 93311 poser/Astronomer," is the first interactive article that allows the reader not only to [email protected] hear the music discussed in this article, but also see the figures by visiting the ACDA Lawrence Schenbeck Department of Music, Spelman College Web site. Wolverton indicates the Urmas Sisask is the most recorded and perf9rmed Box 316, 350 Spelman Lane SW Atlanta, Georgia 30314 of all contemporary Estonian composers. Therefore, the purpose of this article is to [email protected] provide a chronological overview of the composer's life and choral output. According Timorhy W. Sharp Rhodes College - Department of Music to Wolverton, Sisask has composed large and small-scale works for choirs in all voice 2000 N. Parkway Memphis, Tennessee 38112 parts and for varying levels of musical ability. Additionally, Sisask's compositions are [email protected] eclectic in style and incorporate historical and multicultural idioms. Stephen Town NW MO State University-School of Music 800 University Dr MatyVille, Missouri 64468 [email protected]

COORDINATOR OF Carroll Gonzo STATE & DIVISION NEWSLETTERS Perry White 2726 S. Pickatd Ave. Norman, Oltlahoma 73072 [email protected] NAT IONAL , R&S CHAIRS

, NATIONAL CHAIR LETTERS To Barbara Tagg '. 215 Crouse Coliege/Sy~cuse University Syracuse. New York 13244 315/443-5750 (voice); 315/488-1155 (fux) THE EDITOR ,. [email protected] . ,". " BOYCHOIR Randall Wolfe Cincinnati Boyehoir 4740 Samuel Court Mason. Ohio 45040 513/396-7664 (voice) Dear Editor: [email protected] CHILDREN'S CHOIRS Thank You for the thought-provoking article by James Daugherty, Rebecca Rottsolk Rethinking Northwest Girlchoir How Voices Work In a Choral Ensemble in the December Issue. His fascinating 728 Twenty-first Avenue Seattle, Washington 98112 research concerning choir formation, spacing, aild placement inspires me to try new 206/329-6225 (voice); 206/329-9925 (fux) [email protected] ideas and discard some old notions. The extensive footnotes have me running to the COLLEGE AND UNIVERSITY CHOIRS library to read further. Will.iamMcMillan Department ofMusidUniversity of Texas at EI Paso On the other hand, I found Olga Dolskaya-Ackerly's article on the past and EI Paso. Texas 79968 9151747-6630 (voice) present state of scared choral music in Russia alarmist, one-dimensional, out of date, [email protected] and exaggerated. I am by no means an authority on Russian sacred music, but over COMMUNITY CHOIRS Charles Facer the last two years, I've spent five weeks in Moscow conducting two recordings with Greenwood Laboratory School Southwest Missouri State University orchestras and the New Choir of Moscow. The excellent professional musicians of 901 Sourh Narional Springfield. Missouri 65804 the New Choir are very busy singing in churches allover the city. Suprisingly, they 417/836-6356 (voice) [email protected] are paid more than orchestra musicians! Wherever I turned, churches were being ETHNIC AND MULTICULTURAL restored to splendor. The pretty little church in the drab and shabby district where I PERSPECTIVES Anthony T. Leach stayed was frequehted by parishioners at all hours and their services were accompa­ Pennsylvania State University nied by beautiful singing. University Park, Pennsylvania 16802 814/865-6521 (voice); 814/865-7140 (fux) [email protected] We visited a monastery some distance from Moscow and were astonished at the bustle of activity and continuous church services, thronged with people singing JAZZ AND SHOW CHOIRS (To be Named) fervently. One would be hard put to believe Ms. Dolskaya-Ackerly's assessment of "a JUNIOR HIGHI nation that spiritually; mentally, and physically is in ruins ... crippled in every way, MIDDLE SCHOOL CHOIRS Nancy Cox devoid of its spiritual and national identity, and its singing." I also find it difficult to 824 East Elm Altus. Oldahoma 73521 believe her outdated sources which state that "Communism has far from col­ 580/482-2364 (voice) [email protected] lapsed- it has entered its silent phase of world revolution ... [whose] purpose is to MALE CHOIRS disarm the Americans and let them fall asleep." Jonathan Reed Michigan State University! School of Music Easr Laosing. Michigan 48824 517/353-6600(voice);517/432-2880(fux) Yours Truly, [email protected] Timothy Mount MUSIC AND WORSHIP Scott P. Dean Director of Choral Music First Presbyterian Church Bellevue 1717 Bellevue Way. NE State University of NY at Stony Brook Bellevue. Washington 98004 425/454-3082 (voice); 4251637-7081(fux) [email protected] STATEMENT OF MEMBERSHIP SENIOR HIGH SCHOOL CHOIRS Salvatore CicciareUa The American Choral Directors Association Is a nonprofit professional organization Ellington High School of choral directors from schools. colleges. and universities; community. church, 37 Maple Street and professional choral ensembles; and Industry and Institutional organizations. Ellington, Connecticutt 06029 Choral Journal circulation: 18.000. Annual dues (Includes subscription to the Choral 860/872-8537(voice); 860/896·2344(fux) [email protected] Journal): Active $55. Industry $100. Institutional $75. Retired $25. and Student $20. One-year membership begins on date of dues acceptance. Library annual TWO-YEAR COLLEGE CHOIRS subscription rates: U.S. $25; Canada $35; Foreign Surface $38; Foreign Air $75. Mark H. Malone Single Copy $3; Back Issues $4. Pearl River Community College Station A. 101 US Highway II-N ACDA Is a founding member of the International Federation for Choral Music. ACDA supports and Poplarville. Mississippi 39470 endorses the goals and purposes of CHORUS AMERICA In promoting the excellence of choral music 601/403-1272 (voice); 6011403-1138 (fux) throughout the world. [email protected] ACDA reserves the right to approve any applications for appearance and to edit all materials WOMEN'S CHOIRS proposed for distribution. Permission Is granted to all ACDA members to reproduce articles from Lisa Fredenburgh 1316 Courcland Drive the Choral Journal for noncommercial. educational purposes only. Nonmembers wishing to R.,leigh. North Carolina 27604 reproduce articles may request permission by writing to ACDA.The Choral Journal Is supported In 919/829-5653 (voice) part by a grant from the National Endowment for the Arts. a federal agency. [email protected] Recognizing Its position of leadership. ACDA complies with the copyright laws of the United YOUTH AND STUDENT ACTMTIES States. Compliance with these laws is a condition of participation by clinicians and performing Lori J. Wiest groups at ACDA meetings and conventions. School of Music and Arts/Washington State University Pullman. Washington 99164 © 2002 by the American Choral Directors Association. 502 SW Thirty-eighth Street. Lawton. 509/335-5647 (voice); 509/335-4245 (fux) Oklahoma 73505. Telephone: 580/355-8161. All rights reserved. Th,e Choral Journal (US ISSN [email protected]. 0009-5028) Is Issued monthly except for June and July. Printed ill the United States of America. Periodicals postage paid at Lawton. Oklahoma. and additional mailing office. POSTMASTER: Send address changes to Choral Journal. P.O. Box 6310. Lawton. Oklahoma 73506-0310. . i' .: .

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CONVENTION UPDATE

Corrections In January's edition of the Choral Journal Randy Pagel was incorrectly listed as the director of the Sacremento Children's Chorus. Pagel is the director of the Thurman White Middle School Madrigal Singers. Lynn Giere Stevens is the director of the Sacramento Children's Choir. In the same issue, the San Jose State University Choraliers and their director were inadvertantly ommitted. All three of these choirs sang at the Western Division Convention in Honolulu, Hawaii last month.

Sacramento University-Sacramento in 1994. She has Holland Koorfestival in Arnhem 1995, Children's Chorus taught choral music in public schools for one of five guest clinicians on conducting The Sacramento Children's Chorus is twenty-seven years, both in Los Angeles a treble choir made up of girls and boys and Sacramento. Stevens has sung profes­ ages nine through sixteen. It was estab­ sionally with the Ray Coniff Singers, The lished in 1993 by Lynn Stevens and Carpenters, and the Norman Luboff Donald Kendrick of California State Uni­ Choir. Her unique blend of talent, wit, versity-Sacramento, for her master's de­ and passionate love of music has inspired gree project. The Chorus has sung with excellence from her young singers the Sacramento Symphony, and pre­ throughout her career. miered a commissioned work by com­ poser Dan Kingman at the American Guild of Organists Western Regional Convention. In April 2000, the Chorus San Jose State University was chosen to sing for the CMEA con­ Choraliers vention in Sacramento, and in the sum­ The San Jose State University mer of that year embarked on a two-week Choraliers has performed for many state, tour of England and France. The Chorus division, and national ACDA and MENC performs regularly with the Sacramento conventions, most recently at the ACDA for the World Choral Symposium in Choral Society and Orchestra, under the National Convention in Washington, Rotterdam in 1999, and has served as baton of Donald Kendrick, and its own D.C., and the CMEA convention in Sac­ visiting professor at various universities seasonal performances. ramento. The Choraliers has achieve fame and at the Aspen Music Festival. She re­ in Europe by winning many prestigious ceived two trophies in Gorizia, Italy, for competitions, including the Eisteddfod best conductor and for most artistic pro­ Lynn Giere Stevens in Llangollen, Wales (Choir of the World gram. For 30 years Archibeque served as __ Lynn Giere Stevens received a BA in award); Spittal, Austria; Den Haag, Hol­ director of choral activities at San Jose music from the University of Southern land; Tallinn, Estonia; Miedzyzdroje, Po­ State University. California in 1968, and an MM degree in land, and six trophies in Gorizia, Italy. It She attended Oberlin Conservatory, choral conducting from California State has performed in Rotterdam for the Tri­ graduated from the University of Michi­ ennial World Symposium of Chorai Mu­ gan, and earned a DMA in choral con­ sic in 1999 and was one of ten choirs ducting at the University of Colorado at selected to participate in the 2001 Boulder. Archibeque has been the recipi­ Marktoberdorf. Bavaria International ent of numerous civic and professional Chamber Choir Competition. awards, including San Jose State's highest awards, Outstanding Professor in 1985 and President's Scholar in 1993. Charlene Archibeque Charlene Archibeque is known in America as one of the top ten clinician/ Thurman White Middle conductors of all-state choirs, having con­ School Madrigal Singers ducted in forty-three of the United States The Thurman White Middle School and in s.ix Canadian provinces. She was a Madrigal Singers, from Henderson, Ne­ member of the International Jury for the vada, has perfoimed at state, division, and

VOLUME FORTY-TWO NUMBER EIGHT 9 CHORAL JOURNAL MARCH 2002 national ACDA and MENC conventions. THE A CAPPELLA READER The group has sung in Carnegie Hall, in Sightreadbzg for Choirs the Ronald Reagan Library with Presi­ World-class music ... first-rate pedagogy. dent Reagan in attendance, at a private MUSIC EDUCATORS PRESS recital for President and Mrs. Jimmy www.musiceducatorspress.com Carter, for Secretary of State Colin Powell, 1-800-780-5507 and for the Nevada governor. Other per­ formances included the White House and a gala for President and Mrs. Carter in MINISTER OF MUSIC Georgia. They return to Carnegie Hall in Lovers Lane [JnitedMethodist CIJlI7'ch March, 2002.' Dallas, Texas

5000+ member Dallas church seeks a dynamic person who enjoys enriching worship through Randy Pagel music and leading church musicians to a high Randy Pagel, former Nevada ACDA level of music ministry. We have a skilled music staff and the following choirs: 125+ member president, has conducted honor choirs and ing Young Alumni. He was interviewed Sanctuary Choir, select voices, youth, children, all-state choirs throughout the country, . by 60 Minutes and featured on the USA, and multiple bell choirs. We have a strong jazz including the ACDA North Central Di­ ESPN, and WGN networks. band and other jazz ensembles. The successful applicant will have a high degree of musicianship, vision Middle School Honor Choir in with emphasis on vocal and choral performance, Madison, Wisconsin, and at Carnegie spiritual gifts- to minister to the members of these Hall. Awards include district and Nevada groups, excellent management/administrative skills, and will supervise music staf£ We offer State Teacher of the Year, the Western competitive salary and benefits. Send resume to: States Regional Middle School Consor­ Dr. Stan Copeland, Lovers Lane United tium Most Outstanding Educator, and Methodist Church, 9200 Inwood Road, Dallas, TX75220. Phone: 214/691-4721; Fax: 214/692- the University of Wisconsin's Outstand- 0803; E-mail: [email protected].

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VOLUME FORTY-TWO NUMBER EIGHT 10 MARCH 2002 CHORAL JOURNAL

Consistency·and Change in the Sacred Choral Anthems of Herbert Howells

by Jeffrey Richard Carter Herbert Howells

Herbert Norman Howells is a composer chiefly remem­ demand as an adjudicator. bered today as a man of small stature who casts a big shadow Howells remained active throughout his long life, compos­ over the world of Anglican church music. His motets for the ing and carrying on a lively correspondence until his final five Latin renewal, canticles for Anglican liturgy, and three major years. He died in 1983, aged 91, and is buried along side choral works with orchestra are of excellent craftsmanship­ Gibbons, Purcell, Stanford, and Vaughan Williams in the north innovative and elegant in color and texture. Many commenta­ choir aisle at Westminster Abbey. tors and church musicians in fact consider his ecclesiastical music among the great contributions to Anglican church music Influences of the twentieth century. Contemporary biographers refer to Howells's Celtic spirit as Howells was born in Gloucestershire in 1892, placing him one of the primary forces in his life. Christopher Palmer, in his in the next generation after Ralph Vaughan Williams and compilation Herbert Howells: A Celebration, says that "Celtdom Gustav Holst. He exhibited musical talent as a child, and implies a certain dreaminess, a remoteness, a feeling for poetic eventually began organ study with Herbert Brewer at Gloucester nuance, for texture, for sensuous beauty of sound: we might Cathedral. There he met Vaughan Williams and Edward Elgar even sum it up as an enhanced musicality"l Palmer and other during the famed Three Choirs Festival. In 1912, Howells biographers point to Howells;s reaction to his surroundings as began a five-year course of study at the Royal College of Music. one of the most important aspects of his musicianship. While there, he studied composition primarily with Charles Robert Spearing recounts: as a child Howells would make Villiers Stanford, whose tutelage made a life-long impression rounds with the local balcer. This ritual led Howells to associate on Howells. the local landscape with an appreciation for what lay behind it. The balance of Howells's professional life was spent teaching "The young Howells's general awareness and appreciation of composition at the Royal College of Music, training pupils at his surroundings ... represent[s] the most important feature of the St. Paul Girl's School in London (as successor to Holst), his early years."2 Spearing goes on to assert that Howells's undertalcing the King Edward VII Professorship of Music at perceptive sensibility to human character and natural beauty London University, and, during World War II, serving as act­ must surely be a result of his formative years and experiences. ing organist at St. John's Cambridge. He was also in great How is this Celtic spirit and sensibility to beauty manifested in the composer's later life? "Howells saw his spirituality-and Jeffrey Richard Carter is assistant professor of music realized his musicality-in terms of three A's-Architecture, performance at Ball State University, Muncie, Indiana, where Acoustic, Association," says Palmer, who goes on to quote he conducts three choirs and teaches conducting and choral Howells's program notes for a 1966 Winchester Cathedral performance: "[the] 'nearly-possible translation of the frozen literature and history. He holds a DMA from the University of Kansas. poetry of Architecture into the living immemorial sounds of

VOLUME FORTY-TWO NUMBER EIGHT 11 CHORAL JOURNAL MARCH 2002

voices in consort'."3 Location, architec­ points out that while Howells, "markedly London's Westminster Cathedral in the ture, ambience-these lead to song, influenced by plainsong and the late 1910s. melody, line, and in Howells's case, many pentatonic scale, adopts Tudor conven­ Works provide a useful comparison lines that then run together and collide tions of phraseology, figuration, and tex­ from different decades of Howells's life, like the great ribs of a cathedral ceiling .. ture, he does not conform to Tudor including his motets, anthems, canticles, The result: chordal ambiguities, "strange harmonic practice."6 The result, says and excerpts from larger choral composi­ and wonderful chords which are prob­ Frank Howes in The English Musical Re­ tions. This article addresses Haec dies from ably Howells's most conspicuous identity­ naissance, is the Westminster Cathedral years; the early badge."4 carol-anthem A Spotless Rose; Blessed Are A second major aspect of Howells's impressionistic counterpoint in that the Dead; My Eyes for Beauty Pine, a uni­ spirit and music is an elegiac outlook. the part-writing has not the firm son anthem with organ accompaniment; Howells's only son Michael died suddenly outlines, the cogent logic and the excerpts from the early 1930s Requiem; in 1935, and for the remainder of his clearly determined progressions We Have Heard With Our Ears; the days Howells sought to come to terms which are the usual features of a "Worcester" Magnificat; and from the with such a great loss. Several choral contrapuntal style, but instead fluid early 1960s, Take Him, Earth, for Cherish­ works, large and small, are the composer's themes, half-hearted imitations and ing. reaction to death. Says Paul Spicer, quasi-extemporizations for melodic Howells's most recent biographer, "There lines.? Stylistic analysis is no doubt . . . that the music which Howells's Haec dies was written for Sir Howells wrote after Michael's death found What, then, are the specific character- Richard Terry and the choir at a wellspring of inspiration, which had istics of Howells's style, and how do they Westminster Cathedral in 1918, the last hitherto been missing in much of his evolve throughout his life? Commenta- of nine compositions Howells wrote spe­ work, and which brought a deep, often tors agree on several key points: modality cifically for the Cathedral's Latin liturgy, troubling, but nevertheless richly satisfY­ predominates over major/minor tonality, while a student at the Royal College of ing new edge to his music."5 melody often sounds like plainchant, met-Music. Already one hears modality, with Another important aspect of Howells rical accents are displaced, cross-relations a pitch center and key signature indicat­ as a musician is his spiritual kinship with abound, and moods frequently are fune- ing G mixolydian. Tudor composers. Howells remarked that real or ecstatic. Other characteristics in- What is apparent at this early age­ he felt linked with the Tudor period. In clude weak phrase endings, long-arched Howells was twenty-six years old and not an era when continental composers were phrases, melismas as natural embellish- yet a composer of stature-is a fondness embracing twelve-tone technique and ments in the flow of the text, a fondness for melody derived from plainsong. Over other formal structures, Howells was en­ for nine-seven chords, mood creation, the a period of ten measures, the soprano line joying the antiquated style of earlier com­ manipulation of one inner voice against covers a compass of a minor sixth in posers, drawing his inspiration from the static harmony in others, and the reserva- mostly stepwise motion (Figure 1).,& the stained glass and fanciful decorations of tion of wide melodic leaps for moments choral parts wind down their plainsong- perpendicular architecture. Robert of great effect. derived utterances, the upper voices sus­ Lehman, who coordinated the Howells Some aspects of Howells's composi- tain long notes while the basses sing a centennial festival in the United States tional practice remain essentially un- melodic and textual interjection (Figure [email protected]@F-2-)..-MeFe-is-one-of-Mowells~s-most-imme-­ techniques and signature touches become diate observable characteristics: manipu­ The Tempowatch increasingly pronounced, leading ulti- lation of one voice in the return of mately to a vastly different composer in previously-stated melodic material against the 1960s from the young man in static harmony in all other voices.

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VOLUME FORTY-TWO NUMBER EIGHT 12 MARCH 2002 CHORAL JOURNAL

,."" ,,80 " 81 82 A second salient characteristic that re­ turns again and again is the rhythmic .; a. ______shifting of text in a single voice part. In l~ter life, Howells employs a sidelong "" " skewing of individual lines of text; in this .; work, a simple displacement of one line e a. ______in a single vocal part, never more than one beat early or late (see Figure 3, alto in ,," " m.1) . .; e -- Noticeable first in A Spotless Rose, and developing into a signature touch, is the "" " use of silence. In this anthem, Howells places a fermata over the rest, in all four " a. ______voice parts, between the second and third stanza. The change of texture, from solo­ ist with chorus, to a slightly altered rep­ etition of the same material from the first Haec di es, verse, is even more strilcing because of the Figure 2. Haec Dies, mm. 80-82. Published on behalf of The Church Music Society by enforced pause. Oxford University Press. Used by ermission. All Ri hts reserved. .·RtcaID.Ya..R ~.TS Another characteristic, common again in ~ (see Figure 3). Melody is made .. a.l.S6unditJe'lx throughout Howells's life, is his emphasis to fit text in a flexible manner, and one Specializing in Live Choral Recbrdings , on the anacrusis. One frequently hears senses a "timeless quality alcin to the four­ . -Educator Rates Available -Graphic Design" -Traveling Studio -Duplication time and again the phrases beginning on teenth-century lyric fromwhich the words Amer.lsse / Owner . 503.407.4244 beat two or three rather than on beat one. are derived."8 Portlarjd. Oregon www.aisQundwerx.com In fact, a phrase entrance on the down­ beat is unusual, even startling, in Howells's choral oeuvre. Haec dies is atypical for Howells; it does not vary in meter in its 100 mea­ sures, remaining in a constant l Nor does this work contain any significant coun­ terpoint, an anomaly when compared to his later anthems. Custom Concert Tours A Spotless Rose dates from the same Experience in over 40 countries on 5 continents! period. It is one of three carol anthems from 1919, and certainly one of the most famous of all Howells's choral works. Here Tuscany International Children's Chorus Festival one finds Hawes's aforementioned "im­ Doreen Rao pressionistic counterpoint" and""half~ hearted imitation." In fact, the influence July 1 - 9, 2002 of Debussy is present; it can be heard from the outset in the parallel planing motion of the choral lines and the recur­ ring seventh chords (Figure 3). Here, too, Henry Leek one finds the approximation of plainsong. June 30 -July 8, 2003 This anthem is exemplary in three other respects that become increasingly important to Howells. Frequent metrical change, always resulting from textual em­ phasis, is a trademark. One doesn't find Musica Mundi Concert Tours shifting meter in Haec dies, but in the first 1-800-947-1991 seven measures of A Spotless Rose Howells [email protected] changes meter six times-~, then ~, end­ www.musicamundLcom ing the first phrase in ~, then shifting to ~ 101 First Street, Suite 454 • Los Altos, CA 94022 and ~ before finishing the second phrase Phone 650 949 1991 • Fax 650 949 1626

VOLUME FORTY-TWO 13 NUMBER EIGHT CHORAL JOURNAL MARCH 2002

With easeful movement tra; in fact it shares the same text as 'P 1 movements of both larger works. Typical Howellsian traits are evident Spot - less Rose ___ is blow ing,_ from the outset. The opening four mea­ ------sures uses root movement by thirds, from E minor through C minor to G minor. Quarter-note triplets are employed to ~ ~ is __ blow ing,_ emphasize a key word in the text. Most 'P telling, though, are the final two chords of the first measure: a seventh chord in third inversion on beat three, then a sec­ A Spot - less Rose ___ is blow ing,_ ond-inversion diminished chord on beat 'P four (Figure 4). This kind of unstable, transitory chord is stock-in-trade for Howells. Spot - less Rose ___ is A blow ing,_ By measure 21 the choirs have corne Figure 3. A Spotless Rose, mm. 1-2. Used by permission. All Rights reserved. to an unexpected silence that cuts through cadential. movement, delaying the arrival at the ultimate chord of the plagal ca­ the Requiem and in the fifth movement of Howells's series of memorial anthems dence by one emotion-laden beat .. In the Howells's greatest achievement, Hymnus and major works is heralded by Blessed middle section of the anthem, Howells Paradisi for chorus, soloists, and orches- Are the Dead, written in 1920. An an­ them for mixed double chorus, it was : written in response to the death the 2 3 r--:3 -J ====4==~- previous year of Howells's father. This work foreshadows many traits found in - ed are the dead which die ___ in the Lord. __

- ed are the dead----- __ which die ___ in the Lord.------­ __

'---"" - ed are the dead which die __. _ in the Lord. __ Study In Eastern Europe ------­ 'P Learn from master musicians of the former Soviet Union in one of 'the great .----Gultu:!'al-Gentel's-of-Eastel'n-Eluope-at-the-I-I-----=~~~~"'-~':.--"'~---~~-'='-"'-----~-~----'~~===-+-- Figure 4. BlessedAre the Dead, mm. 1-4. Used by permission. Liscense No. 1107NOV Kiev Summer Music Festival

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VOLUME FORTY-TWO NUMBER EIGHT 14 MARCH 2002 CHORAL JOURNAL

extraordinary composition. Howells's Requiem is a microcosm of his technique. As the composer turned 40, he had to his credit considerable suc­ - while from_ their la bours ______cess in orchestral and keyboard writing. Michael's death forced a sea-change in his Figure 5. BlessedAre the Dead, mm. 60-63. Used by permission. Liscense No. 1l07NOV focus (with Anglican liturgy therefore the recipient of many wonders from Howells's pen!). In a sense this six-movement work introduces his trademark shifting of meter, plans; Howells's only son Michael died in is a summation of all Howells's previous here from ~ to ~ to ~, all in the service of 1935. The Requiem (ca. 1932-33) was compositions and a precursor of those to the text. not heard until 1980, although it is the come. The six movements feature plain­ A characteristic emerges in this an­ genesis of Hymnus Paradisi, and much of song-inspired melodies, sudden shifts of them, -weak phrase endings. Through­ its material was re-worked in the latter, texture, luminous harmony that defies out this anthem, phrases come to end on the second or fourth beat of the measure. poco allarg. _ _ _ _ _ a tempo A clear example can be heard in the So­ --= 19 =1____ 1 f 20 ~ 1 21 prano II part as the textual resolution ...-" 'I I· 'I 1 1\ occurs on beat folir (Figure 5). This ex­ IV I ample shows again Howells's frequent use I~r r I~I 1 r' Love,_ 'lis heave/l - - /y Love._ of triplets in quadruple meter and the plainsong inflections of his melodic lines. I"J~ J hJ~d ~~; My Eyes for Beauty Pine (1925) is a : brief anthem for unison voices and or­ " gan. A useful but relatively minor an­ them, it clearly illustrates two general Figure 6. My Eyesfor Beattty Pine, mm. 19-21. Used by per.t:n,ission. All Rights reserved. characteristics in Howells's music. As has be~n previously noted, Howells will change meter so that the words of an The/G,.. r p,r I #J' ! anthem are sensitively and clearly de­ ,/" f ellf r/ ,"" /", r ~' v 1.4) v,.J r·:I "l ~ claimed. Howells sets this Robert Bridges .... ' ._ (J ~ .~a~ _ r..;gram f7 -~ at Holy Names College text in a flowing 1, but mal{es frequent alteratio'ns of meter to ~. Impact is strengthened at the climactic moment in Revolutionize two ways:, the penultimate measure is set in a shortened, urgent ~, and the choir Your splits to four-part harmony for three mea­ Teaching! sures (Figure 6). Study with Hungarian One can now postulate a second gen­ master teachers and eral principle in Howells's technique: distinguished American The Master of Music degree may be stressed syllables are lengthened an extra faculty in one of the finest completed in one year. Classes begin with count or two. The result is measures of ~ music education programs the HNC Kodaty Summer Institute, or ~ instead of~, and a strategic illumina­ in North America. July 8-19,2002. tion of the text that cannot be defined on Application deadline: May 1, 2002 first hearing. In A Spotless Rose this tex­ Degrees / Certificates offered: tual emphasis is achieved through • $5,000 KodaIy Fellowships are available • M.M. in Music Education for 2002-2003. melismas (as happens throughout Fellowship deadline: March 1, 2002 Howells's life), but in this work Howells • KodaIy Specialist Certificate adds the new element of a sudden longer • KodaIy Summer Certificate • Small student/faculty ratios syllable mid-phrase. In the early 1930s Howells decided to Anne Laskey, Director of the Kodaly Program write an English Requiem for unaccom­ Holy Names College • 3500 Mountain Blvd., Oakland, CA 94619 panied voices. He modeled the work on a (510) 436-1234 [email protected] www.hnc.edu similar endeavor by Walford Davies and intended to send it to King's College, Cambridge, for performance in that fa­ mous chapel. Fate, however, had other

VOLUME FORTY-TWO NUMBER EIGHT 15 CHORAL JOURNAL MARCH 2002

easy parsing, enough counterpoint to lay lux per-= f 25 ___ claim to Tudor influences, shifting of text 26~ 27 in one voice part, extensive changes of meter, double-choir writing, and abrupt "-" '-" silence. is, Et lux per - pe tu - a, et lux_ per - Two new traits emerge, however, both mf = f=- = instantly characteristic of Herbert Howells. One of Howells's signatures is a is, Et lux, __ lux~ per - whisper of modality. Like other English ----- composers of his era, Howells contrib­ : uted to the pastoral movement in British music. A trademar:k of this school is mo­ Et_ lux ______per pe tu - a, lux per - .dality; the listener can easily find the low­ mf ered third, raised fourth and lowered = seventh-all modal characteristics­ throughout Howells's music from the e Et_ lux per - pe - tu-a, lux per - 1930s onward. In his Requiem Howells makes extensive use of the raised fourth FigUIe 8. Requiem, mm. 24-27. Used by permission. Liscense No 1107NOV. scale degree (Figure 7), here coupled with the lowered seventh. The key signature suggests D major, the central section of and organ were composed in early 1941. bridge. His close encounter with daily the sixth movement is in B~ major, and They share common characteristics, in- liturgical life, occurring as it did during the bass begins with two spicy, cluding penitential or devotional texts. the early post-Michael period, "undoubt- quintessentially Howellsian touches. ~ Have Heard with Our Ears uses a edly led him to consider ways of contrib- As Howells's technique becomes more new signature touch: the sudden silenc- uting in a more positive way to enriching certain, he begins not only to displace ing of the organ. At the words "Thou art the church repertoire."9 One of the re- one syllable of text slightly in the vocal my King, 0 God" the organ drops away sults is the great series of settings of the line, but also introduces new melodic from its steady crescendo, only to grandly Magnificat and Nunc Dimittis for ideas in one voice while others finish a re-enter as the choral phrase is completed. Evensong, written for various chapels and cadence. Such a technique is surely com­ This is not an unusual technique, but the cathedrals in England and abroad, which mon in polyphonic music, but with juxtaposition of the organ and chorus is a Spicer says "kickstarted music for the An- Howells it is less wholesale polyphony (a salient feature in all of Howells's later an- glican church into a whole new phase of fa the Renaissance practice ofcanonic imi­ thems engaging these forces. existence."IO Each of the canticles shows tation or the later continuous imitation) The commencement of phrases on the stylistic characteristics previously assessed, than an on-going polyphonic gesture. anacrusis is one of the important elements and also advances some new trends. Howells demonstrates his method clearly of Howells's plainsong melodies. In the The "Worcester" Magnificat (1951) in the fifth movement of the Requiem: entire anthem, only two phrases begin oil begins with a solo organ statement of a the tenor introduces the crucial words et the first beat of the measure, and most of plainsong-inspired melody, followed lux perpetua [and light perpetual], the ac­ the other phrases begin on the final beat straightway by the sopranos' voicing of cented entrance a stunning rending of oftlie previous measure or me secona--me centraltlleme. In me first six notes of-- the choral fabric and an obvious fore­ eighth-note of the second beat. This char- the phrase lie two important consider- shadowing of the soprano and bass mate­ acteristic is now so prevalent as to be a ations. Howells begins the phrase on the rial to follow (Figure 8). Howells's guiding element of Howells's text-setting. anacrusis, and does so with a short technique is not continuous imitation so melisma (Figure 9). As discussed earlier, much as well-planned choral premoni­ Later Period nearly all anthems from the mid-1940s tion. During World War II, Howells was onward feature phrases that begin on an Four significant anthems for chorus acting organist at St. John's College, Cam- anacrusis. Within that same phrase will be a short melisma in one of the parts, most often in the soprano, which is then

bless ed, _____ followed by a longer note. Spicer refers to these natural embellishments as "mo­ 19 pp 20 ments of ecstatic repose in the flow of 1?:#1f t §J. d ~JZf?1F r ~iMr q:zii:t the text."ll Certainly this is indeed a From hence forth bless ed, ___ continuation of the "lengthening" tech­ nique first discussed with A Spotless Rose. Figure 7. Requiem, mm. 19-22 bass. Used by permission. Liscense No. l107NOV. A second major characteristic firmly fixed by the 1950s is the use of an un-

VOLUME FORTY-TWO NUMBER EIGHT 16 MARCH 2002 CHORAL JOURNAL

As Howells's technique becomes fixed, he begins to offer more moments where the text is so stratified and cellularized as My ___ sou1_ doth_ to have an entire repetition of a phrase. In this anthem, for example, the whole choir Figure 9. "WoI'chestel''' Magnificat, mm. 4-5, soprano. Used by permission. is singing the final syllable of "mystery" as Liscense No 1l07NOV the altos enter with the opening words of the song (Figure 11). One might also prepared appoggiatura at key textual mo­ rhythmic notation. Howells, in later life, note the silence at the end of the phrase ments. The current example shows the takes increasing care to delineate rhyth­ and the raised fourth scale degree (B# in sopranos singing bl to al on the first beat mic texture, as he does in this work (Fig­ the alto)-both continuing signature of measure five. The organ plays an A­ ure 10). Syllables fall in different places touches. Howells also, in later life, divides minor chord at the same time. The ac­ within the plainsong-inspired lines and the chorus with increasing frequency, as cented upper non-harmonic tone thereby add an anxious, unsettled charac­ in Take Him, Earth, for Cherishing where resolving down is one of Howells's most ter to the mood. the sopranos are divided as often as they piquant stylistic inflections, and a recur­ ring melodic device from the mid-1940s onward. ,-3-, II r--. 12 r:::: 3 -] """u, 10 13 r-- A quick reading of the "Worcester" ...... I0..oI Magnificat brings to light many of the Once was dlis _ a spir-il'S dIVel ling. By Ihe brealh _ of God cre- a - ted. compositional characteristics previously examined: textual skewing in one voice, II ... occasional triplet inflections, weal{-beat p' ..,ri .-...,.1 "'-.J ~ '-' cadences and anacrusic phrase beginnings Once this was _ a spir - it's dwel-ling._ By Ihe brealh _ of God ere - a led. (only one choral phrase in the entire can­ ,-3-, r:::: 3 -] ticle begins on the downbeat), and fre­ 1uI - r-- quent metrical ch~ge. One also notices ...... I0..oI that Howells's harmonic language is be­ " Once was Ihis _ a spir-it's dIVel ling. _ By Ihe brealh _ of God cre- a ted. coming edgier and more dissonant. Cross­ r-3--. relations are more common, chords are more difficult to analyze because they con­ Once this was _ a spir- - it·s dwel-ling._ ere-a - ted. _ tain an increasing number of tones out­ Figure 10. Take Him, Em·th fal' Chel'sihillg, mm. 10-13. Used by permission. side of tertian harmony, and key centers Warner Bros. Publications Inc., Miami FL 33014 shift with incredible frequency. Likewise, rhythm is becoming more fluid as the anacrusic phrase beginnings blur the bar lines, and inner voices move The McClosky Institute ofVoice presents the 20th ANNUAL SUMMER WORKSHOP'~E~IES; at different textual speeds when compared ~.~ ('\ r",,- ,1.1./.?; ...... '...... ', /'~/fWi .. )\ . . . with outer voices. In addition, phrase ry:i/>i~ed 11,::/ ';, Troubled "~ Help for the ! lengths are irregular and tend toward the ! VOICE PRODUCTION AND DISORDERS \~jl-··\\ long rather than the short. '''cooL.·l ../ / In Take Him, Earth, for Cherishing (1964), Howells sets a text both poignant I-Where SCIENCE meet.1ARTI /J:~~~7.30; 20~2 '. , , • Seattle UI1I~er!ilty,i.i' and rapturous, and in so doing delivers another culmination of style and ethos. An interactive, hands-on workshop to help you learn and e.\perience rSe~ttl~;:!aShiI19tol1i This lengthy anthem is surely his greatest effective techniques to enhance healthy voices and benefit damaged voices·I.~ .'~~E~~~~~fJli~f:;:';Y single work from the 1960's, and one of Voice teachers, speech & language pathologists, r,:~\:Atlanta;Ge'orgitt,r music educators, choral directors, singers and I.:;:: :.' .' ." ....,' his finest ever. The last of the anthems speakers will enhance their knowledge of: \ ". " ,SGrddubteCrMit· and major works forged in sorrow, it was I: . ':.' ". "...... " A~aiiabliJ: • Biomechanics of voice -breath, vocal fold function, resonance written for an American memorial service 'M' '::::'. .:;.::, • Recognizing voice problems -voice'quality, tension, breathing il". :;;~~', for John F. Kennedy. The text, Helen • How you can use these techniques in clinical settings, the studio, : ~,' , ~ ; ,: ';(:~ ,',: :. Waddell's translation of the poet the classroom, rehearsals, and your own voice. -,;;,):~;; ,';' ',~~: ~ \'",<,.:;,.'" ; .•" ", > • Kinesthetic awareness of your own voice Prudentius, had been intended for The M~CI~~kYrX::x:c': Hymnus Paradisi, but was never used. j For more information, call Lin Wallin Schuller, CMVT Instituteof.Noice · .•. ; .. A major aspect of Take Him, Earth, for 508.238.2694, Deborah Fencer, eMVT 508.587.3001 162 Boylstonstteet:, .. J.;', :".':.'," .•': Cherishing is the extreme precision of the or e-mail [email protected] Suite 45, Boston;lIt1A 02116 '.• '" " "".;c "'~'" .~. 'Z.',' "" .

VOLUME FORTY-TWO NUMBER EIGHT 17 CHORAL JOURNAL MARCH 2002

sing in unison. This allows for an increas­ cross relations, and sinuous melodies de­ 1 Christopher Palmer, Herbert Howells: A Cel­ ing richness of harmonic texture, and the rived from ancient chant; through a sense ebration, second edition. London: Thames great ranges of the voice parts give more of mystery and stateliness that leads to a Publishing, 1996, p. 136. power to the musical expression. certain mood-creation; through a sure 2 Robert Spearing, Herbert Howells. London: This ferociously difficult anthem is in understanding of text that allows his mu­ Triad Press, 1972, p. 8. a highly-colored harmonic idiom. Three­ sic to illuminate rather than illustrate; 3 Palmer, p. 146. part chords hardly exist, being replaced, through increasing rhythmic complexity 4 Palmer, p. 147. for instance, with minor ninth chords in and alertness, even in unaccompanied 5 Paul Spicer, Herbert Howells. Bridgend, second inversion. Spicer points out the works, which echoes the shadows and Wales: Seren Books, 1998, pp. 11 0-11. Frenchness of Howell's music: shapes of Howells's beloved cathedrals; 6 Robert W. Lehman, "The Choral Idiom of through music in which the harmony Herbert Howells". ChoralJournal33 (Oc­ It was Debussy's colour, senSuousness breathes the spirit of the work, and im­ tober 1992), p. 12. and evocation of mood and place; pression is more important than expres­ 7 Frank Howes, The English Musical Renais­ Ravel's·fastidiousness, and his re­ SlOn. sance. New York: Stein and Day, 1996, p. pressed· nature almost desperate to Christopher Palmer says that Howells's 301. find expression in music; Boulanger's "essential concerns [are for] line, texture, 8 Christopher Palmer, Herbert Howells: A Study exquisite sound world; and Durufle's light and polyphonic life."14 A study of (London: Novello, 1978),74. marriage of the old with new which consistency and change in Howells's an­ 9 Spicer, 127. 12 spoke qlost directly to him. thems must therefore focus on these mu­ 10 Spicer, 131. sical attributes that manifest themselves 11 Spicer, 133. That H~wells's harmonic idiom is won­ so abundantly in his work. In silence, in 12 Spicer, 47. derfully complex by this stage in his life is complexity of chords, in repetition of 13 Spicer, 134. not in doubt. One need only hear the words and ideas, in melismas followed by 14 Palmer, Celebration, 166. final B-major phrase of this work to find powerful long notes, in elegy and ecstasy, proof. An augmented chord built on the Howells combines a fine sensibility and -C]- lowered sixth scale degree (G-B-D#) is deft touch with inspired natural musi­ coupled with the leading tone and a C cianship. He articulates humanity and double-sharp, the latter creating a double devotion, and ranks with the great sacred leading tone. One might also stack the composers of the twentieth century. chord differently and find that five con­ secutive scale degrees are represented, in­ NOTES cluding the by-now-familiar raised fourth. This chord resolves to a luminous B-ma­ jor triad spaced over two octaves and a third-surely one of Howells's most se­ a tempo, come primo 34 P dim tiL rene moments. 35 36 Conclusion In a 1966 article Howells decries the "careless denial ofidiomatic fitness."13 His music is certainly idiomatic, and. always seems to fit the text and the mood he seeks to create. He accomplishes his tasks dim through modal scale inflections, generous tiL====~ lP

a tempo P dim tiL

a tempo v_pdim tiL ~e\) USJJ -- eC\'l).\'b 952·933·7307 $<1.9 Figure 11. Take Him, Earth, for Cherishing, mm. 34-36. Used by permission. S~ www.aabaca.com Warner Bros. Publications Inc., Miami Fl33014

VOLUME FORTY-TWO NUMBER EIGHT 18 MARCH 2002 CHORAL JOURNAL

VOLUME FORTY-TWO NUMBER EIGHT 19 CHORAL JOURNAL MARCH 2002

VOLUME FORTY-TWO NUMBER 20 EIGHT

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The American Choral Tapestry: The Land and Its Settlers

by David P. Devenney

Background York, Connecticut, and the Northeast. The artists who de­ The United States, even at its inception a large country by picted it became known as the Hudson River painters, a school European standards, grew quickly to encompass a significant initially including John Church, Asher B. Durand, and Tho­ land mass. To the initial thirteen colonies were quickly added mas Cole, its founder. They painted lush, atmospheric canvases the Louisiana Purchase (1804) and the California and Oregon of the mountains and forests of the Northeast, carefully brush­ Territories (1813): in its first thirty years, the country nearly ing out signs of danger (mount~n lions, bears), and all signs of quintupled in size. These new lands were populated by a sub­ human settlement. They suffused their canvases with carefully stantial influx of European immigrants. Many fled persecution calculated lighting effects, creating visions of nature in a sub­ or natural disasters, such as the Irish potato famine, and many lime state. 1 more came because the new country offered hope and the Later, as the far western territories were explored and settled promise of a rich future. from the middle of the nineteenth century on, artists such as As the country grew, surveyors were sent to map and report Albert Bierstadt, Thomas Moran, and George Catlin painted on the new territories. Settlers and developers soon followed, Rocky Mountain views, desert scenes, and Indian life that both opening the wild portions of the Northeast and the far West to captured the grandeur and exoticness of these vistas and tamed commercial possibilities and eventually transforming them into them for the civilized audience back home. In the twentieth habitable areas. Artists, composers, and writers were among the century, the national cultural ethos finally embraced the last first people to venture into these uncharted territories, often undiscovered portion of the country, the Midwest. This area, accompanying territorial surveyors on their hazardous mis­ long derided as inconsequential to the nation's culture, was sions. It was vital that artists were there early to document these finally acknowledged during the Depression and with the ad­ fantastic new lands: for if they were to be used and eventually vent of World War II. Artists and others declared that its close­ inhabited, then they had to be shown as accessible and familiar to-the-earth values and (supposedly) simple life were not only to people in the settled portions of the nation. The arts were antidotes to the turbulent times and industrialization, but were vital in portraying, to the eastern populace, the sublime maj~ central to the American character. From the land and people of esty and mighty promise inherent in the new, untamed regions the Midwest came the paintings ofThomas Hart Benton, John of the country. Stuart Curry, and Grant Wood, whose American Gothic depicts The first region explored was the wilderness of upstate New the core American couple: stalwart, straightforward, simple, and without pretense. David P. DeVenney is associate professor of music and director Writers who assisted in this cultural assimilation included of choral activities at West Chester University, West Chester, James Fenimore Cooper and Washington Irving in the 'first Pennsylvania. period, followed by the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau. Later, Thorton Wilder

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(whose play Our Town captures the rriyth musical organizations in a town. They instrumental movements, gathered of Americans living in small towns, with frequently hired local or traveling orches­ around a loose libretto, into the first wholesome, bedrock values), Willa tral musicians to play their concerts American cantatas. William Batchelder Cather, and others who wrote about small who in several instances later banded to­ Bradbury (1816-68) and George F. Root -town America. About the same time, gether to form the first permanent or­ (1820-95) were the first to write these Frank Lloyd Wright was developing the chestral ensembles of these towns. longer works, and Root's The Haymakers first truly indigenous American housing Thus, it is natural that among the gems (1857) is a fine example of Americanness form: the prairie house that hugs the land, of American choral music would be so in choral music. The text to this ninety­ mirroring it with low, horizontal lines of many valuable and substantial works that minute pastoral work was written by the windows and flat-sloped roof lines. celebrate the country, its settling, and its composer. It examines the lives of those inhabitants. This choral contribution to who malce their living working the land, Composers and ''American'' the cultural history of the United States and it is rich in scenes associated with the Choral Works has long remained unexplored, and is the harvest, perpetrating images ofAmericans Composers wholeheartedly took part primary focus of this article. Below is an as a people close-to-the-earth. One of The in this territorial assimilation; it is in annotated listing of some of the more Haymakers principal themes is the simple America's vast repertory of choral music, influential and prominent choral works virtue of a rural life in contrast to the especially, that this trend can be most that represent this idea.2 country's increasingly industrialized cit­ clearly discerned. Althoug it is difficult to ies. 3 A contemporary reviewer wrote that detect from reading nearly any standard· Music Depicting the the cant~ta was "very pleasantly and per­ textbook ofAmerican music history, cho­ Northeastern Wtlderness fectly arranged," noting that it held great ral music has always been a central means The earliest American composers were appeal for its audience, with its "simple, of musical expression in the United States. tunesmiths like William Billings, Supply melodious, pleasing, and suggestive" mu­ From the early years of the nineteenth Belcher, Jacob French, and others, who sic.4 century, every city and town, even small published compilations of anthems, The most important and eccentric villages like Stoughton, Massachusetts, fuging tunes, and instructions for singing composer of this generation was Anthony had a choral society, and sometimes sev­ them. Their later counterparts in the early Philip Heinrich (1781-1861). Heinrich eral of them. These were usually the first 1800s were Lowell Mason and Thomas was a native of Bohemia who immigrated Hastings, best known for their compila­ to the United States and settled in Phila­ tion, The Boston Handel and Haydn Soci­ delphia in 1810, quickly becoming a Summer ety Collection of Church Music (first ed., champion of America. He walked from 1822). It was the succeeding generation Philadelphia to Pittsburgh in 1817, then Choral of composers who, building on Mason traveled down the Ohio River to Ken­ and Hastings's work, combined these tucky. By traveling to the furthest settled Holiday short choruses with rudimentary solo and parts of the United States, Heinrich saw, "It is the mix ofyoung and old, amateur and professional-united in a deep love of choral music­ ENDOWED MUSIC CHAIR that gives the Green Lake Festival of Music choral week FRANKLIN COLLEGE is a growing, dynamic, private, Carnegie Baccalaureate General, liberal arts ---its-speciaJ-character;;-;"--- - -insdtudon~Founded-in-l834,tbe-eollege-was-tbe-first-higher-edueadon-insdtution-in-Indiana-to-admitt-I---- -Sir David Willcocks wom~n. Curr~nt e~rollment i.s 1028, with a. student/faculty ra~io of 1.6:1. The college, which has a beautiful and hlstonc campus, IS located 25 mmutes south ofIndianapohs. The music program offers minors in music and music education and is an integral part of the Fine Arts July 14-20, 2002 Department. The Department moved this past October to our new $9 million Johnson Center for Fine Arts. In addition to the new ~uilding, our $40 million Capital Campaign prcividesfunding for the new Sir David Willcocks, Jonathan Holden Endowed Music Chair. The successful ~andidate will share responsibilities within a developing choral program, including Willcocks, conductors music education courses, strengthening existing choral groups, and developing new curriculum within a Paula Rockwell, Kirin Nielsen, growing department. The Department is interested in someone who will talre an active role in recruitment vocal clinicians of vocal students and who will provide leadership in vocal music education, both on campus and in the local and regional music community. The candidate must have a demonstrated interest and ability to • English Evensong service teach a broad range of courses to diverse students (minors, general education students, etc.). Secondary areas may include: music courses for General Education students, conducting various vocal ensembles, • Final concert with orchestra. applied vocal instructing, musical theatre, or other areas within the candidate's experience and expertise . • Durufle Requiem Masters degree required, Doctorate preferred. Preference will be given to candidates who have • Haydn Lord Nelson Mass demonstrated a record of teaching and developing outstanding performance ensembles. Review of applications begins: March 15, 2002 and will continue until the position is filled. Applicants should send www.greenlakefestlval.org letter describing teaching and performance areas, vita, transcripts, three current letters of recommendation, and relevant supportive documents (e.g., statement of philosophy of teaching, teaching evaluations, PO Box 569 publications) to: Music Search Committee, cI 0 Prof Paul M. Johnson, Humanities Division Chair, Franklin ~~~-~ Green Lake, WI 54941 College, 501 East Monroe Street, Franldin, IN 46131-2598 It is Franldin College policy that all opportunities be available to qualified individuals on the basis of GREEN LAKE 800-662-7097 merit and without discrimination to any applicant for employment because of race, color, religion, gender, fe.#WAl. [email protected] OF MUSIC disability, age, national origin, or sexual orientation.

NUMBER EIGHT VOLUME FORTY-TWO 24 MARCH 2002 CHORAL JOURNAL first hand, the glorious topography of the his biographer William Treat Upton re­ California Gold Rush (1849), the comple­ young country and set about capturing served his praise for one particular pas­ tion of the Transcontinental Railroad its majesty and his feelings about it in sage, notably one that describes the (1869), and similar events. Composers music. He wrote several oratorio-length burgeoning importance of the United soon began penning works on appropri­ works, among them The Sylviad; or Min­ States: ate themes. This is not to say that the strelsy of Nature in the Wilds of North country's history was forgotten, as evi­ America (1823-26), Musings of the Wild Full chorus, at times in unison with denced in works such as Dudley Buck's Wood (1836-54), The Wild Wood Spirit's full strings and certain of the brasses, cantata The voyage of Columbus (1885) Chant, or Pilgrims in the New World intones "Nations hear that mighty and Paul Revere's Ride (1898). Neverthe­ (1845), and his longest work, Jubilee: A music, rolling through the moun­ less, works on pioneer and Western Grand National Song ofTriumph (1841). tainbars, planting deserts, bridging themes were more numerous and impor­ A portion of The Wild Wood Spirit's oceans, marrying the choral stars." tant. Chant was published separately in 1846 The declamation is excellent and It was in works like George F. Bristow's as "The Adieu of the Pilgrims." This can­ when the orchestra becomes silent (1825-98) oratorio The Pioneer (1872) tata is divided into six musical sections, at the final phrase, while the chorus that the American ethos continued to be including an instrumental prelude, continues entirely unaccompanied, explored. The Pioneer is a grand cantata "Embarcation of the Pilgrims," followed in chords of the simplest, most im­ in three parts, and the first ofa long line by a short but rather lyrical soprano solo, pressive character, the effect must of choral works (extending until the "Home Dearly Loved," two vocal quin­ have been profoundly moving. 5 present day with works like Libby Larsen's tets "Farewell, Farewell" and "Through The Settling Years [1989]) that depict the Storm and Wave", and two concluding trials of pioneer families crossing the fron­ choruses, "The Conflict's Past" and "We Settling the West tier. Once again, closeness to the land, Go Where God's Directing Hand". The Venturing beyond the wilds of the overcoming natural hardship, and virtu­ Jubilee is divided into two parts, the first nation's backyard, the United States, after ous toil are the thematic ideas of Bristow's including "The Arrival of the Mayflower; the Civil War, was rapidly being settled work. Disembarcation of the Pilgrims; The westward, spurred by the promise of th~ More influential were the works of Prayer of Gratitude; Vision of the Future Glory of the Nation;" and a shorter sec­ ond part entitled "The Consummation of American Liberty." These themes and stories, culled from the early days of con­ tinental settlement, were common ones and would be explored by many compos­ ers over the remainder of the century, helping to invent a national cultural his­ Expressive Conducting tory. Heinrich tried repeatedly and suc­ cessfully to enshrine in sound his reactions Innovative Pedagogy-Advanced Technology to; love of, and delight in his adopted Authored by Paul W. Wiens country, especially its natural beauty. His musical descriptions of the United States encompassed the sparsely settled wilder­ ness of the new country, evoked its brief The Expressive Conducting Institute but shining history, and saw in the un­ tapped, unspoiled region the great prom­ Co-sponsored by Wheaton Conservatory of Music ise of a glorious future. He captured in sound the same sublime quality that the May 21-23 and June 3-5 Hudson River painters portrayed on can­ vas. Other composers of the mid-nine­ teenth century also evoked the natural grandeur of the country, relating it to the ExpressiveConducting.com character of its people. William Henry Fry (1813-64) wrote a festive Ode per­ formed at reinauguration ceremonies for New York City's Crystal Palace in 1854. A contemporary reviewer cited the "well­ developed melodies, sustained by a judi­ cious and brilliant orchestration," while

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John Knowles Paine (1839-1906), who was val by Theodore Thomas, America's .first the Hudson River painters, captured the the country's first professor of music, at great orchestral conductor: The short immense and sublime western landscape Harvard, one of the first internationally cantata, scored for soprano solo, chorus, for an Eastern market, most of whom prominent American composers, and one and orchestra, is musically continuous. would never see these far sections of the of our more important composition teach­ Quite dramatic in places, the music re­ nation. Works like Song of Promise and ers. Paine wrote several occasional pieces flects the images of power, glory, and numerous others rnust be seen as the mu­ that celebrated the vasrness, might, and triumph in the text, which is a long sical equivalents of these grand painterly promise of the country. Among these were paean to the greatness of the country. vistas. the Centennial Hymn (1876) for the The first part of the cantata is exposi­ George W Chadwick (1854-1931) was nation's hundredth birthday celebration in tory, for chorus, whereas the second is a another composer who, like Paine, con­ Philadelphia; Columbus March and Hymn soaring soprano solo. A sustained choral tributed occasional pieces for Americas (1892) for the famous Chicago World's hymn completes the work. The music is fairs that trumpeted the glories of the Fair commemorating the anniversary of lush and vigorous, bursting with the en­ country. His Ode for the Opening of the Columbus's voyage; and the Hymn of the ergy and hope of the country. Its visual Chicago World's Fair (1892) (also known ~st (1904), written for the centennial of equivalent is easily recognized in the can­ as Columbia) is in three parts. The allegro the Louisiana Purchase. vases of Albert Bierstadt, who painted opening movement is predominantly Paine's Song of Promise was commis­ the majestic, powerful Rocky Mountains hyrnn-like; the second, slower movement sioned for the 1888 Cincinnati May Festi- and other western scenes. Bierstadt, like is more relaxed and stately than the open- ing. The last movement is marked allegro maestoso and is full-blown, including two military bands positioned "on the right" The Kodaly Institute at and "on the left." This last part climaxes on the final word of the phrase, "Lo, clan Capital University on clan, the earth's brave nations gather Developing excellent teacher to be one." The piece gradually broadens musicians for the classroom and intensifies into a stately ode to the Spirit of Freedom. Other '~erican" works by Chadwick include the cantatas The Pilgrims (1890) and Land of Our Master of Music in Music Education with Kodaly Emphasis Hearts (1918). The latter is a self-con­ Applications being accepted for the three-summer program gratulatory hymn to America, where the Summer Kodaly Course July 15 - August 2, 2002 North yields "strength to suffer and to dare," the South sheds on us "thy sweet­ Teacher resource materials and all KCA materials available. Contact Sandra Mathias, Un,;versitu Conservatory of Music (614) 236-6267 • [email protected] ness and thy light," the East gives wis­ dom and art, and the West personifies future hope. Not only were western scenes explored Yvonne Farrow · Albert McNeil Jubilee Singers. in musical pictures, but also in the lives Director, Albert McNeil f nh b· I th Choreographer 0 its i a Itants. n art, one notes e ~·-~---I----T-echnical-Director------:------I--eanvases-of-George-Gatlin,for-instance-,-- • Northridge Singers, CSUN whose views of Native Americans were Director, Paul Smith exhibited to an eager public in the east­ ern United States. The musical corollary • San Francisco Girls Chorus of Catlin's paintings are the works of Director, Sharon Paul Arthur Foote (1853-1937) and his con­ temporaries. Foote was a prolific com­ • Gwen Wyatt Chorale poser of songs, piano pieces, and part Director, Gwendolyn Wyatt songs, many of them on Indian themes. His longest work in this vein is The Fare­ • City of Angels Sanctuary Choir well of Hiawatha (1885), to a text by Director, April Colon-Haywood Henry Wadsworth Longfellow. Scored for baritone, men's chorus, and orchestra, one • European Council of International nineteenth-century historian wrote that Schools, Director Jody Beneke in this work, Foote"'tried to reflect the quiet and tender sentiment of the fare­ • The Larry Farrow Choral Series, well in his music, and has admirably suc­ www.twinhiz.com Me Island, A Tribute to Harry ceeded. Poetic beauty is its most striking Fax 323-965-0658 Belafonte (Hal Leonard Corp.) feature."6

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Frederick Converse (1871-1940) is re- (1923). The latter is an excellent example the orchestral piece The Thunderbird Suite . membered today for his opera The Pipe of of choral works that, beginning in the and numerous art songs and piano pieces . Desire, the first American opera to be per­ late nineteenth-century, drew upon Span­ His choral partsongs on Indian themes formed at the Metropolitan Opera House ish-American and African-American, in are numerous, including "Come," Says the in New York. Among his cantatas on addition to Native-American sources. Drum; Desert Quest; An Indian Love Song; American themes is one jewel, The Peace Charles Wal{efield Cadman (1881- Indian Mountain Song; Naranoka, Friend Pipe (1915), written to a Longfellow 1946) was even more interested in these ofPeace; The Rainbow TIlaters Whisper, and poem. The music, nominally in seven "exotic" sources than Farwell, especially other similar titles. His cantata The Fa­ parts, is continuous, and frequent changes in Native American music. His works in­ ther ofTI!aters (1928), subtitled eM Ameri­ of meter and colorful orchestral writing clude the opera Shanewis (1918), also pro­ can Cantata," for mixed voices and piano, enliven the piece. The most interesting duced at the Metropolitan Opera, and is a set of eighteen short movements ar- portion is the fourth movement, a fiery, fierce depiction of the warriors descend­ ing from all sides onto a meadow, a mood continued into the next movement. The last part changes, however, when Hiawatha delivers a speech of peace to the gathered Indian nations, reminding them that their strength is in unity. Like Foote with his Native American pieces, Chadwick (and later Arthur Farwell) por­ trays the nobility of the Indians, painting them as peaceful and intelligent. Although somewhat patronizing, these composers, together with artists like Catlin, sought to debunk the myth of ruthless savage­ ness among American native peoples by portraying them in a favorable, peaceful light. Impressionistic composers in this country, writing somewhat later than their European counterparts, also penned com­ positions with an American ethos. Ed­ ward MacDowell (1861-1908), one of the first such composers, was a master of smaller forms. Although his piano pieces (Woodland Sketches, Sea Pieces) are excel­ lent examples of Americanness in music, his part songs also reveal this concern. Among the two best are the Two North­ ern Songs (1890-91), "The Brook" and "Slumber Song." Both paint idyllic por­ traits of the American countryside; their artistic counterparts might be Winslow Homer's sea pictures or the forest can­ JULY 6 - 19,2002 vases of George Inness. Another Impressionistic composer, Join us for: Also workshops in: Charles T. Griffes, wrote numerous Festival of Concerts Orchestral Conducting Americanist art songs; several, including Academic Credit Available General Music Bya Lonery Forest Pathway (1909), were Tax Deductible Piano • Strings also arranged for chorus during his life­ Fjords, Mountains Jazz Improvisation time. Among Arthur Farwell's (1877- Viking History! Watercolor 1952) dozens ofIndian pieces are several longer choral works: Four Indian Songs (1937), Keramos [The Potter's Wheel] Dept IW, 187 Aqua View Drive, Cedarburg, WI 53012"USA '. (1907), Two Choruses (1946), "Navajo ~ 262-377-7062; Fax: 262-377-7096; E-mail: [email protected] . , \ War Dance No.2" and "Indian Scene"; Check out our Website: www.internationalworkshops.org and Symphonic Song on "Old Black Joe"

VOLUME FORTY-TWO NUMBER EIGHT 27 CHORAL JOURNAL MARCH 2002 ranged in a non-narrative, impressionis­ plex music of some of his more academic no doubt it held a powerful message when tic fashion that provides reflective rumi­ contemporaries. written. It is one of many works that nations on Indian life. Spoken narration Cadman's The Sunset Trail (1922) is attempted to show the real experiences of holds the movements together and pro­ subtitled ''An Operatic Cantata Depict­ Native Americans, upsetting America's vides a unifYing link. The music "is not ing the Struggles of the American Indians long-held notions of them as Noble Sav­ innovative nor particularly distinguished, against the Edict of the U.S. Government ages, whose simple virtues were capable but rather it is tuneful, obvioiis, at times Restricting Them to Prescribed Reserva­ of imitation, but whom Destiny had de­ sentimental."? Cadman deliberately set tions." This lengthy work, intended to be creed should be governed by the white about writing music that was simple and staged, is for five soloists (ATTBB), mixed races. easily graspable to ordinary, musically un­ chorus, and piano. The libretto seems sen­ tutored audiences, disdaining the com- timental today and a bit contrived, but Transition to the Twentieth Century Folk song became an increasingly im- portant source of inspiration for Ameri­ can composers during the first few decades of the twentieth century. One of • the earliest to collect and then draw upon this repertory, was Ernst Bacon (1898- mUSIC 1990). Like the use of rural images in UNIVERSIT/OF:ST. THOMAS music, or the i~creasing length and com­ plexity of music inspired by the vast and graduate programs in music education wild American continent, the use of folk music was for composers a way of ex­ pressing their Americanness. Bacon wrote year-round and summer only degree programs a number of large and important works that drew upon our folk and national heritage, including the orchestral suite Ford's Theatre (1943) and the musical A Tree on the Plains (1940). His choral pieces also reflect this trait, such as the part songs Buttermilk Hill Song (Song of 1776) for women's voices, The Houn'Dog for men's chorus, and John Hardy and Shouting Pilgrim for mixed forces. Be­ yond these original works, Bacon also ('earn'with innovatioIl.Teach with inspiration. arranged a number of folk songs for cho­ rus, an increasingly prevalent composi- tional trend. Bacon's lengthy cantata By Master of Arts in',Music Education concentrations: 1 () I: al cLb 1------:-:--'-----:--'~----__:'::____:__c____:_c'c_------I--.l3tULQntario-l95B- _JOL to_anass__ • Choral • Instrumental soli, chorus, and orchestra, is set to a text • Kodaly • Orff • Piano Pedagogy by Walt Whitinan. ''As a strong bird on pinions free, Joyous the amplest spaces, Heavenward clearing, Such be the For more information: Graduate Programs in Music Education thought I'd think of thee, America"- so LO~ 103, University of St. Thomas begins this hymn to the glories of the 2115 Summit Avenue country, celebrating its settlement west­ ,St. Paul, MN 55105-1096 ward. Bacon's two contemporaries Philip James (1890-1975) and Charles Skilton (651) 962-5870 or (800) 328-6819, Ext. 2-5870 (1868-1941) were influential composers E-mail: [email protected] in their time, and each left important works in the American vein. James's Gen­ .... etal William Booth Enters Into Heaven = (1933) compares favorably to Ives's set­ UNIVERSITY" of ST. THOMAS ting; and Skilton's- massive oratorios MINNE.SOTA Ticonderoga (1932) and The Guardian Angel: A Carolina Legend (1925) both bear close scrutiny.

VOLUME FORTY-TWO 28 NUMBER EIGHT MARCH 2002 CHORAL JOURNAL

The American Ethos ably the two most often performed pieces Later Manifestations Comes of Age ofAmerican choral music. Drawing upon With Copland and his contemporar­ The composers who reached their ma­ folic melodies, they enshrine the values of ies, the search for an American ethos in turity in the 1930s and 1940s brought the heartland: of a people who are virtu­ music came to an abrupt end. The coun­ final form to the search for what was ous, live close to the earth, and depend try had been assimilated artistically in the "American" in the country's music. More upon themselves and their neighbors, in same order that it had been explored and more, these men and women turned close-knit community; for their needs. physically. As each portion of the country to folk song, now often paired with the Never mind that by 1950 significantly was surveyed geographically, it was mined jazz rhythms from the 1920s, to form the more people in the United States lived in artistically, and eventually subsumed into core American choral repertory, a period cities than in small towns, and that the the national cultural consciousness. With I have called elsewhere the'''glory years" heartland of the country was already emp­ the conclusion of World War II, compos­ of choral music in the United States.8 tying in favor of the country's coastal re­ ers, writers, and others adopted an in­ Howard Hanson (1896-1981) was the gions. Here was music that America could creasingly internationalist point of view, first prominent composer in this remark­ call her own, music which finally embod­ embracing modernism, technology, and able group. A master of the cantata form, ied the vision of ourselves as Americans. industrialization. They were free to do Hanson's New Land, New Covenant This sense of an American ethos is so this, in large part, because the idea of (1976) fits perfectly into this survey. Writ­ complete, in fact, that when film malcer what meant to be an American had been ten for the bicentennial, it draws its text Spike Lee produced his 1981 movie He fully integrated into the national culture, from Scripture, Colonial writings, seven­ Got Game about inner city basketball play­ and the myth of who we are as Americans teenth- and eighteenth-century hymns, ers, he chose Copland's music because to had been explored, catalogued, and eluci- and the poetry ofT.S. Eliot. Tracing the him, simply put, "it sounds like America." history of the founding and settling of Copland's contemporaries in art were the United States, the cantata is a virtual the so-called regional artists: Thomas Hart catalog of the compositional techniques Benton, John Stuart Curry, and Grant Music Manager and ideas traced herein. Other works, such Wood. The latter's American Gothic is de­ Software 4.0Thl as his Song ofDemocracy (1956), Streams monstrably the single most reproduced in the Desert (1949), and the part song canvas in American painting. Wood cap­ Cross-platform ... Mac or Windows North and West (1923) may also be fruit­ tured America's essential couple-plain, Get information and demos at fully examined. Streams in the Desert, writ­ simple, unpretentious-just as Copland's www.musicmanager.com ten on a text from Isaiah, is ostensibly a music had. The appeal of the painting sacred work; but it may also be heard (and the music) is that it allows everyone Toll Free (800) 282-9220 metaphorically, viewed in the light the to see in it what they want to: Wood's also available for church musicians ... perception of America's divine promise enigmatic couple is the American equiva- WorshipManager™ and great destiny. . lent of the Mona Lisa. Roy Harris (1898-1979), an impor­ tant figure in American music, wrote many works which deserve more frequent performances today, if for no other rea­ son than his influence on Copland. Harris's Folk Song Symphony (1940) is in several movements that describe Ameri­ The ST. OLAF CONFERENCE on can scenes: "Welcome Party," "Western Cowboy," "Mountaineer Love Song (or, WORSHIP, THEOLOGY~~~ARTS He's Gone Away)," "Negro Fantasy," and so forth. He also penned numerous folk Improvisation: Departing from the Script, Holding Fast to Scriptul·e song arrangements, including settings of JULY I5-I9, 2002 Black Is the Color ofMy True Love's Hair (1942), Blow the Man Down (1946), and ST. OLAF COLLEGE When Johnny Comes Marching Home NORTHFIELD· MINNESOTA· USA (1935). The composer most associated with An annual conference dedicated to the enhancement of theological under­ American ethos in his music, indeed the standing and pastoral skills in worship, church music, and the arts. man whose works have become synony­ mous with it, is Aaron Copland (1900- For brochures or registration information: 90). The two choruses from his opera The www.stolaf.edulsumme,· ST· OLAF Tender Land (1954),'''Stomp Your Foot," [email protected] ·LII~G (507) 646-3 0 31 C'lNIWlNCt.~ &. [VINT.I and "The Promise of Living," are argu- NOIlTIifIELD . MINNESOTA' USA

VOLUME FORTY-TWO 29 NUMBER EIGHT CHORAL JOURNAL MARCH 2002 dated in sound and iconography. these contemporary works belong to the ginning of the industrial revolution in The foregoing brief survey illuminates long, distinguished, and rich tradition of the United States; as Root penned his only the highlights of American ethos in American music. work, that great economy-driving inven­ choral music, limited to the most inter­ It was vital that a country the size and tion of the nineteenth century, the loco­ esting and seminal works. Hundreds more diversity of the United States be melded motive, was already being pushed across choral pieces might be included if space together if it was to flourish. It was made the country, a task completed in 1866. permitted: by Randall Thompson, Alice physically cohesive by such inventions as Root's cantata, like so many other pieces, Parker, Halsey Stevens, and others. Spe­ the locomotive, the telegraph, and the was certainly written in reaction to cific titles by other composers include telephone. It was held together culturally Amerids encroaching industrial might. Ives's HarvestHome Chorales (1898-1901); by the artistic products of its painters, 4 Dwight's Journal of Music (Boston: Ditson, Elie Siegmeister's cantata 1 See a Land composers, authors, and architects. That 1852-81), March 12, 1859. (1961); Norman Lockwood's wonderful the choirs who formed the first ensembles 5 William Treat Upton, William Henry Fry: cantatas Prairie (1953) and 1 Hear America in so many of these towns, and the litera­ American Journalist and Composer-Critic Singing (1954); William Schuman's im­ ture they commissioned and performed, (New York: Thomas Y. Crowell Co., 1954; portant Pioneers! (1937); or Lukas Foss's were immensely important to this pro­ reprinted New York: Da Capo Press, The Prairie (1941) and American Cantata cess, is a fact only now beginning to be 1974),238. Reviewer's quote, ibid., 142- (1976-77). There are more recent works, discovered and illuminated. 43. too, such as Thea Musgrave's moving and 6 George Upton, Standard Cantatas (Chicago: eloquent The Last Twilight (1980), which NOTES A.c. McClurg, 1889),284. belongs squarely in the Native American 1 I have explored this viewpoint in a recent 7 Harold Gleason and Warren Becker, Early genre, along with Ben Allaway's Tallgrass book, An Ideal Country: Creating an American Music: Music in Early America Canticles (1995); LibbyLarsen's funny and American Myth (forthcoming, University from 1620-1920 (Bloomington, IN: moving The Settling Years (1989) and jazzy of Illinois Press), exploring how the arts Frangipani Press, 2nd ed., 1981), 170. Billy the Kid (1997), and David Conte's helped establish our national conscious­ 8 David P. DeVenney, "varied Carols: A Sur­ recent American Triptych (1999). All of ness. vey of American Choral Music' (Green­ 2 Readers desiring more specific information wood Press, 1999), 129-204. about the choral works discussed here, including library locations, are directed -C]- @ALIFORNIA STATE l.JNIVERSITY, to various books by the author. These LOS ANGELES include varied Carols and a four-volume bibliographic reference series (Scarecrow The Roger Wagner Center Press, 1987-93). for Choral Studies 3 Historians commonly cite 1820 as the be- offers a seven-day course in

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VOLUME FORTY-TWO NUMBER EIGHT 30 MARCH 2002 CHORAL JOURNAL

Baltic Portraits: Urmas Sisask: Estonia's Composer/ Astronomer

by Vttnce Wolverton

Editors note: Many of the musical figures for this article ean be an imaginative approach to harmonic constructions, innova­ viewed and heard on our Web site . tions of old and new instruments with voices resulting in a fascinating new timbral palate. In addition his works are repre­ Prior installments of this series of articles explored the music sentative of the reawalcened interest among all the Baltic peoples of an earlier generation of Estonian composers, Cyrillus Kreek in shamanism and animism (the belief that all natural objects (Choral Journal, Vol. 40, No.2) and Rudolph Tobias (Choral have souls). Journal, Vol. 41, No.7). This articles focuses on the choral The following true story sheds light on this latter aspect of output of one of the brightest stars of the current generation, Estonia's "composer/astronomer." In 'early February 1992, at Urmas Sisask. Sisask has had works commissioned by the Esto­ the height of winter, a group of Urmas Sisask's friends gathers nia Philharmonic Chamber Choir, Tonu Kaljuste, conductor, in his hometown of Janeda. After listening to his improvisa- , and the Charles Church Chamber Choir, Ene Uleoja, conduc­ tions at the piano, accompanied from time to time by shaman tor, among others. He is among the most recorded and per­ drum, they set off for a thicldy wooded hillock with slippery formed of all contemporary Estonian composers. The purpose paths. While the men carried burning torches and birch twigs, of this article is to provide a chronological overview of Sisask's the women held pine twigs, ancient symbols of manhood and life and choral output to date. womanhood. They halted at a place where, one thousand years Since the dissolution of the Soviet Union and the re-estab­ ago, a stronghold had stood~one of those sites that the ances­ lishment of Estonian independence in 1991, we westerners tors discovered could infuse them with physical and meta- have had' the opportunity to learn about some of the most . physical strength. Three bonfires were lit and Sisask established exciting and intriguing new choral works issuing from the pens a rhythm on the shaman drums, beating them toward the sky, of the current generation of Baltic composers. Urmas Sisask (b. toward the earth, and toward the east. A mythical incantation 1960) is composing large-scale works including masses and was talcen up from one bonfire to the next. l oratorios and small-scale works, easily accessible to amateur That the composer would develop such a strong interest in choirs. His work is important because, although firmly nature is not surprising given the fact that he has spent his grounded in the great European choral traditions, it represents entire life in rural surroundings. Urmas Sisask was born on September 9, 1960, at Rapla, Estonia. He studied composition Vanee D . Wolverton is professor of music at California State with Rene Eespere (b. 1953) and graduated from Tallinn Con­ University-Fullerton, and director of music at Red Hill servatory in 1985. He worked as a composer, teacher, arid Lutheran Church, Tustin, California. choral conductor. His creative talent has been expressed prima.: rily in music for piano, choir, and extended vocal/symphonic

VOLUME FORTY-TWO NUMBER EIGHT 31 CHORAL JOURNAL MARCH 2002

works. A list of his choral works is in- sic. At the same time, he studied the solar the stylized dances of the late Renaissance cluded in the side bar. system and worked out theoretical sound and early Baroque, and figure 2 Sisask's more recent works (see side values for the rotations of Mercury, Ve­ 4 the bar page 35) evidence a growing interest nus, Earth, Mars, Jupiter, Saturn, Ura­ Agnus Dei is a canon. in religion; however, astronomy and mu- nus, Neptune, and Pluto, obtaining what Oremus is an atmospheric prayer con­ sic have been Sisask's central interests since he calls the "planetary scale" consisting of sisting mostly of humming and various his days as a schoolboy. His first constel- five pitches (a, D, H, Gfi, and A). To vowels sounded ad libitum. The entire lation pieces date form that early period, his surprise, Sisask discovered that this collection has been recorded by the cham­ although the piano composition Starry scale matched that of a basic mode of ber choir Eesti Projekt, Anne-Liis Sky Cycle was not begun until Aquarius Japanese music called kumayoshi. 2 Sisask Treimann, conductor.5 was written in 1980. The parts of the considers it symbolic that at about the Gloria Patri was followed by two masses cycle, composed between 1980 and 1987, same time he received a Catholic prayer (1990, 1991) and the Magnificat (1990). are rather loosely connected, thus the per- book with Latin texts. Sisask's astromusic The first mass contained material from former is free to rearrange the movements is reflected primarily in his works for pi­ the Gloria Patri and the first part of the or play only selected movements. Sisask ano and orchestra and in the twenty-four Magnificat is based on a condensed varia­ has expressed the wish to add to the cycle, sacred songs comprising his Gloria Patri tion of the "planetary" or kumayoshi scale. which presently consists of twenty-nine (1988). Since 1988 Sisask has adopted a The fundamental tone (T) of the movements, because there are eighty-eight concentrated focus on sacred music and Magnificat is a, the tone "of the land." constellations in the firmament. In 1996, it is this element of his output that is Sisask's setting of Mary's song of praise is Sisask constructed Estonia's only plan- lilcely to be of greatest interest to choral unaccompanied, chant-like and, accord­ etarium at Janeda. The composer happily musicians. ing to the composer, may be performed relates the story of his homemade plan- In 1988 Sisaskcompleted GloriaPatri, by a quartet or chamber choir. The piece etarium: To build the planetarium he first a work consisting of twenty-four unac­ was commissioned and recorded by the bought a grand ladder to reach the ceiling companied religious songs in Latin for chamber choir Eesti Projekt, Anne-Liis at three meters high, and some glue. After mixed choir, chamber choir, or quartet. Treiman, conductor. 6 having divided "the sky" into sectors, he The order of the songs can be freely var­ The opening movement figure 3 climbed up and down the ladder 2000 ied, since this is a collection rather than a 7 of times applying the phosphorescent "fun- cycle. The collection reflects Sisask's "en­ the Magnificat is polyphonic, highly stars" he found beside an artificial dung- richment period"; the form of each piece melismatic, and features elements (paral­ heap in a Stockholm novelty store. After comes from the Baroque period and har­ lelisms) of Medieval organum. Sisask uti­ fourteen days, the ceiling was full of starts. monically all of the pieces malce use of lizes only the five pitches of the kumayoshi All the 2000 stars visible in the Estonian the kumayoshi mode. For example, figure scale to construct the movement. Melodi­ sky are there along with the Milky Way 1 3 cally, the movement is chant-like in its and, thus, the sky over Janeda has never Alleluia is set as a fugue and is typical of gentle rising and falling and, despite the clouded over since May 1996! all of the pieces in the collection in its rigid adherence to the five-tone scale, the In 1987-88 Sisask went through what harmonic and textural sparseness and con­ harmonies resulting from the interweav­ he called an "entichment period." Dur- stantly shifting meters. ihg lines are surprisingly consonant. ing this period he took courses on early The Benedicamus is based upon the The second movement, figure 4 __=m:o.:u=s.::..ic=--:a=n::..::d=--=f=am=i=li_ar-,:-i_ze_d-,--h_i_m_s_e_lf_w_i_t_h_-,Vi-",e""n=etl=' an~.polychoral tradition, Deo Gratias 8 Et Gregorian chant and early Baroque mu- is a passacaglia, Confitemini is related to exsultavit spiritus, is mostly homophonic and features rhythmic prosody that is be­ guilingly dance-like in its shifting meters, syncopations, and abrupt dynamic shifts that reflect the jubilant spirit of the text. Tour With Your Choir The melodic construction is primarily and peifonn in the Great Cathedrals and Historic Churches. conjunct, thereby facilitating a faster • Brazil • Great Britain • Europe tempo, and is once again restricted to the • France/Spain • Australia, New Zealand &: Fiji five-tone kumayoshi scale, resulting in an Travel with the professionals who have been overall harmonic consonance. coordinating concert tours for 30 years. The succeeding movements of Sisask's Magnificat continue the formula of kumayoshi melodic/harmonic construc­ «& tion and the alternation of polyphony with AMBASSADOR TOURS homophony; variety is achieved by vary­ 148 E. Michigan Avenue / Kalamazoo, MI 49007 1-888-830-4448 (toll free) FAX: 616/349-7674 ing the texture. Fecit potentiam features a http://www.ambassador-tours.com soprano soloist, Quia respexit features an SATB solo quartet alternating with full

VOLUME FORTY-TWO 32 NUMBER EIGHT MARCH 2002 CHORAL JOURNAL

Figure 6. Gloria (Mvmt. V,), mm. 24-36, Jouluoratoorium (Andes Edition. forthcoming, used by permission.)

choir, and Et misericordia is set for solo divisi, unaccompanied), Gratias Agamus ditional bright trumpet, the epic oboe, tenor and bass voices. The entire work Domino Deo Nostro for treble voices (two and gentle recorders give additional colour takes just over thirty minutes to perform. four-part choirs, soprano solo, unaccom­ to the organ and vocals (the choir, solo On the title page of his Missa Number panied), David's Psalm ofPraise for male soprano, and baritone); the piano, harp­ Two, Sisask provides the dates 1990 and chorus, and Andromeda for two pianos. sichord, and certainly percussion instru­ 1991. It appears that he may well have Benedictio and Gratias Agamus Domino ments render the rhythmic contours; the been working on this mass concurrently Deo Nostro are shorter pieces (ca. 6:00 cello and double bass serve both.lO The with the Magnificat. The architecture of duration) and both are published by Edi­ choral parts are not complicated and are Missa Number Two may have been in­ tion Fazer, Helsinki (see side bar). These in a comfortable tessitura, facilitating good spired by the format of the great all-Esto­ miniatures were followed in rapid succes­ sonority. nian Song Festivals held every four to five sion by three major works, Sisask has utilized an eclectic approach years since 1869. These gargantuan festi­ jOuluoratoorium [Christmas Oratorio] in the Christmas Oratorio, setting the in­ vals feature a massed women's choir, (1992); Missa Number Three "Eesti Missa" dividual movements in styles representa­ massed men's choir, and a massed mixed [Estonian Mass] (1993), Missa Number tive of many cultures and historical choir, altogether more than 30,000 sing­ Four "joulumissa" [Christmas Mass] periods, all with the intent of reflecting ers. Missa Number Two is written for these (1993), and the collection Twelve Laulu the joy of Christmas. For example, the same forces with the addition of a so­ Piiha Neitsi Maria Auks [Twelve Songs in composer infuses the Gloria (Movement prano soloist in the Credo. The division Honour ofHoly Virgin Mary] (1993), for V) with the flavor of a South Mrican of voices made possible through this ar­ mixed choir. chorale through the insistent rhythm and chitecture facilitates a "wall of sound" ef­ The Christmas Oratorio (1992), along triadic harmonies (Figure 6). II fect as witnessed in figure 5 with his Christmas Mass (1993), and In figure 7 .9 David's Psalm ofPraise (1991), reflect the mar2002/>12 "Domine, ego credidi" Note that "N" indicates Naiskoor composer's strong interest in music for (Movement VIII) the composer evokes [women's choir], "s" indicates Segakoor male voices. It is scored for male choir, the Caribbean region through the use of a [mixed choir], and "M" indicates organ, piano, harpsichord, SATB solos, rhythmic ostinato in the choir and conga Meeskoor [men's choir]. By alternating trumpet, oboe, two recorders, cello, drums overlaid by tenor and soprano so­ the choirs in various combinations, the double bass, and percussion. There are los. The alternation of compound and composer evokes the Venetian polychoral twenty-one numbers altogether, includ­ simple meters is also inspired by Carib­ tradition of the Baroque period. ing short interludes. The canonic text is bean and Mrican rhythmic constructions. The composer appears to have been in Latin and the sermon in Estonian. Ivalo The insistent rhythms and dynamic varia­ highly motivated in 1991 for, in addition Randalu has noted that the composer's tions convey the exuberance of the text to the Missa Number Two, he composed "alternate use of the few accompanying "in my heart, 0 Lord, I believe". Benedictio for mixed choir (eight-part instruments shows quite a skill-the tra- Ene Dleoja (b. 1937), prominent Es-

VOLUME FORTY-TWO NUMBER EIGHT 33 CHORAL JOURNAL MARCH 2002

tonian conductor and one of Sisask's illiempo Rubato J = 60 -88 ~ p coro teachers at the Tallinn State Conserva­ tory, encouraged the composer to write ~r~~~~~~~~~~~~~~~~ Missa Number Three "Eesti Missa" [Esto­ nian Mass] (1993). Sisask has said that it Au 01 - gu Ju - rna - la - Ie kar - ges, ja maa peal ra - hu was Ene who advised him to write a simple and beauriful piece that could be sung by a big choir at an open-air song festival.13 The Estonian Mass, scored for mixed choir, organ, and shaman drum ad libitum, was composed for the 22nd Esto­

nian Song Festival and it was dedicated hea· tah - te- ga ni - mes - te Ie. Me ti - lis - ta - me Sind, me to the Charles Church Chamber Choir. Ene Dleoja and the Charles Church Chamber Choir gave the first perfor­ mance of the Estonian Mass at the Inter­ national Sacred Music Festival in Czestochowa (Poland) in 1993 and have recorded the piece;14 in Estonia the piece was heard for the first time at the First on-nis-ta-me Sind. ___ 01 - gu Ju - rna - la - Ie kar - ges,_ Sacred Music Festival in Rapla. At both 11.[ of these performances organ accompani­ ment was played by Piret Aidulo and shaman drum by the composer. At the p 22nd Estonian Song Festival the Estonian Mass was sung by a choir of approxi­ mately 30,000 singers conducted by Ene

U&T ...... 'I'D 01,.". Vocalize allY time, a1l],whel'e-witllOllt a piano! POUR CCl/IIPI..IITIl IlXlllUZIUl pnQ(lIt"MS fun HNQI!RI. is the recorder part with its slightly orien­ tal, relatively unchanging motive. 16 The 2 volumes available! baritone part is recitative and the choral 60 minutes of warm-ups on each CD WINNING Instruction booklet included parts are mostly triadic, strictly homo­ Available in SAT or B, beginning or advanced wARM~uPS phonic and syllabic as can be seen in $14.95 or $12.95 cassette tape + $2 shipping Figure 9.17 IlIil/ois residel/ts add 8.5% tax FOR THE Urmas Sisask composed his first pieces Available at retail stores or at Domenico Productions, Inc. for choir as a third-year student at the 4321 Lee St., Skokie, IL 60076 fax 847-675-0892 toll free 877-228-3866 pin#6223 Tallinn State Conservatory. He has con­ www.domenicoproducts.com tinued to compose large and small-scale :::':.'.:~'."::.:::::""'" ,.,. r.r works for choirs in all voicings and at

VOLUME FORTY-TWO NUMBER EIGHT 34 MARCH 2002 CHORAL JOURNAL

varying levels of ability. His choral com­ 8 Ibid. Kaarli Kiriku Konsertkoor [Tallinn positions are eclectic in style, incorporat­ 9 Unpublished manuscript Charles Church Concert Choir]. (Tallinn: ing historical and multicultural idioms. 10 Ivalo Randalu. CD notes. Recording by the Eesti Raadio [Estonian Radio], 1998) Academic Male Choir of the Technical 16 Ivalo Randalu. CD notes. Recording by the NOTES University of Tallinn, Antes Edition, Academic Male Choir of the Technical 1 Leo Normet, "Urmas Sisask-A Musical #BM-CD 31.9061. University of Tallinn, Antes Edition, Shaman," in Fazel' Music News (Tampere, 11 Urmas Sisask. jouluoratoorium. (Blihl! #BM-CD 31.9061. Finland: FazerlNordiska Group, 1998). Baden: Antes Edition, forthcoming). 17 Urmas Sisask. Missa Number Four 2 Kristel Pappel "Notes" in Gloria Patri. 12 Ibid. 'Joulumissa. " (Biihl/Baden: Antes Edition, Helsinki: Edition Fazer: 1996,3. 13 Triinu Tanner. CD notes. Recording by manuscript). Recording by the Academic 3 Urmas Sisask. Gloria Patri. (Helsinki: Edi­ Tallinna Kaarli Kiriku Kontserkoor Male Choir of the Technical University tion Fazer, a Division ofWarne riC happe II [Tallinn Charles Church Concert Choir]. of Tallinn, Antes Edition, #BM-CD Finland, 1996). (Tallinn: Eesti Raadio [Estonian Radio], 31.9061. 4 Ibid. 1998). 5 Finlandia Records #4509-95577-2. 14 Estonian Radio, Tallinn, 1998. -C]- 6 Ibid. 15 Urmas Sisask. Missa Number Three "Besti 7 Urmas Sisask. Magnificat. (Biihl/Baden: An­ Missa"[Estonian Mass]. (Tallinn: Kirjasrus tes Edition, 1998). "Muusika," 1993). Recording by Tallinna

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STUDENT TIMES

Lori Wiest, editor

viduals remains in character within the • Phrasing: the feeling of motion, an Choral Festivals: section and the ensemble. artistically-shaped line; The Influence of the 2.Diction • Dynamics: appropriate use of dy­ • Vowels/Consonants: the ability to namics for the composition and for the Conductor and of the produce a clear tone in all registers, verti­ ensemble; Adjudicator cal vowel space, pure vowels, correct vowel • Communication: a balance of fun­ production in diphthongs, crisp energetic damentals, sensitivity, and expression, Part II: Preparing to be an consonants for clarity of text; conveying the composer's intentions. Adjudicator • Language: accurate pronunciation. 5. Other Editor's Note: This is the second in­ 3. Fundamentals • Literature: quality music which al­ stallment of a two-part article on adju­ • Intonation: clarity and accuracy of lows the ensemble to display its musical dication. Part I was titled "Preparing pitch in all registers, adjustments made capabilities, content matter and level of Your Choir and Selecting Adjudicators" instantly; difficulty appropriate to the age and gen­ and appeared in the January 2002 issue • Rhythm: rhythmic precision and der of the students; of the Choral JoumaL consistency of the pulse, clean entrances • Appearance: posture, poise, atten­ and releases; tiveness, stage presence, facial expression, You have had the experience of taking • Balance: a balance between and mannerisms, general appearance. your choir to an adjudicated festival. The within sections, during varying dynam­ feedback that you received from the adju­ ics, textures, ranges, and accompaniments In a competitive festival, the forms gen­ dicators has helped your choir perform with regard to a sense of "ensemble". erally require that you rate the ensemble better and listen more critically. How­ 4. Expression/Musicianship numerically for each category, then add ever, what might the benefits be for you • Interpretation/Style: the composer's the numbers for each category together and your choir if you become an adjudi­ original intent with regard to tempo, style, for a numeric total. The total points cator at a festival? By learning how the and symbols, the use of interpretive de­ correlates to a rank that is assigned to the adjudication process functions and the vices; ensemble for that particular performance. various elements that the adjudicators lis­ ten for, you will have a better under­ standing of the adjudication process to Prepare for service in the church as relate to your students and an enjoyable a professional, theologically educated, personal opportunity. If you are interested in becoming an pastoral musician. adjudicator, one of the most valuable steps in preparing to adjudicate is to familiar­ ize yourself with the district's selected evaluation form. Each festival tends to adopt its own evaluation form so when you are contracted for the festival, you should request a copy. Typically, most forms contain the following categories in various formats: For more ill/ormation, contact: 1. Tone Quality Dr. Paul Westermeyer • Resonance/Support: the ability to Professor of Church Music produce a pleasing, free and energetic Phone: 651-641-3525 tone, focused and resonant with proper E-mail: [email protected] breath usage without being pushed or Online: www.luthersem.edu forced; ' LlITHER Luther SemilJm:v educates leaders/or Christiull c:cHlummilies ~ SEMI'" I A 01y called and se11l by fh~ Ho{l' Spirit 10 witlless to salvatiolllhrouglt • Blend: the tone production of indi- Jl I W \1\. Jeslls Christ alld to serve"" God's world.

VOLUME FORTY-TWO NUMBER EIGHT 37 CHORAL JOURNAL MARCH 2002

Often, new adjudicators find it difficult an average rating to each category, in or­ practice and experience, adjudicators de­ to settle in to the fast pace of the evalua­ der to remain consistent, then raise or velop a sense of efficiency. Districts may tion process. They also tend to be either lower the number according to your as­ require that you attend a clinic or work­ very lenient or extremely critical. Al­ sessment. For example, on a scale from shop where they are instructed in meth­ though it is unethical to compare scores 1-10, assigning 5 as an average score in odology appropriate to the festival format. of a given ensemble and then change your each category, then modifYing the score In addition to providing written com­ rating to mirror the other adjudicators' to an 8, if the performance is better than ments about the performance, you may marks, it may be helpful, particularly as a average, yet not quite exceptional. You be asked to provide oral comments of new adjudicator, to compare scores to may want to practice writing adjudica­ each ensemble on an audiocassette tape. evaluate your own judging ability, assess­ tion comments by listening to recordings This allows you to make comments while ' ing whether you are in the same and rehearsals of performers, suggesting the tape recorder also picks up the perfor­ "ballpark." You might temporarily assign methods for improvement. Through mance. Therefore, the choir and the di­ rector are able to identifY the problem as described by the adjudicator at the spe­ cific spot in the music. If time permits, one adjudicator may be expected to pro­ ,.. vide immediate verbal comments to the ensemble, similar to a mini-clinic. There are many general aspects of music and of vocal production which you should be prepared to discuss, demonstrate, and VISIT NEW YORK practice with the students, such as breath­ ing techniques, vowel formation, clean articulation, legato singing, and phrasing. FORA SONG. It is best to select one aspect of the per­ formance that you would like to address Tune up your choral skills this June member of the Juilliard faculty. and provide possible improvements. at The Juilliard School. She'll be joined by other Juilliard teachers as well as professional Typically, you will be given copies of the Enroll in our annual two­ singers and important figures from performance music. It is beneficial to day workshop, "The the world of choral music, lightly pencil notes on the music as they Complete Choral including Cori Ellison, perform. This serves as a reminder of Musician." Designed for Cynthia Hoffman, James concepts for discussion with the choir conductors, Litton, and Robert White. and as a reference for the director. singers, and It is important to identifY the prob­ composers, it Juilliard's 2002 choral work­ covers all shop will take place at lems in the ensemble's performance as aspects of our Lincoln Center quickly and succinctly as possible. Once choral'art. campus on June 27 a problem has been isolated, it must be and 28. Sessions clearly stated in an inoffensive manner,

sessions on conducting; particularly for long-term results. At this opera choruses for all time, it may be helpful to review ten ages;' accompanying; For more information on how to sing a phrase; "The Complete Choral typical performance "pitfalls" of choral repertoire; Alexander Musician," write to ensembles, in order to prepare for objec­ Technique; achieving The Juilliard School tive listening in an evaluation of a festival vocal freedom; the Evening Division, performance. changing voice; and 60 Lincoln Center recording a chorus. Plaza, New York, 1) Muddy, imprecise pitches NY 10023, call 2) Lack of rhythmic precision Our staff is led by Judith (212) 799-5040, or, Clurman, a prominent e-mail juilliardatnight 3) "Unsupported" sound or lack of choral conductor and a @juilliard.edu. breath management 4) "Notey" phrasing, inability to sing legato with phrase direction 5) Vowels are shapeless and tend to migrate 6) Consonants are not clearly ar­ Juilliard ticulated 7) Apparent misunderstanding of

VOLUME FORTY-TWO 38 NUMBER EIGHT MARCH 2002 CHORAL JOURNAL

the text and of the appropriate com­ such as "great" or "needs improve­ some way. The adjudicator's desire to positional style ment". motivate, stimulate, and provide construc­ 8) Void of expression, which in­ 10. Try to remain on schedule tive advice will lead to a musical and cludes mood, poetry, dynamic con­ throughout the day and remember eaucational experience for the students, trast, word stress, and tone color that evaluation forms are collected increasing their desire to continue to im­ 9) No sense of ensemble regarding regularly so you must complete the prove. entrances, cutoffs, blend, and bal­ forms as soon as possible, although ance you may want to request that forms New Student Chapter! 10) Inappropriate choice of litera­ are not picked up until the first three Congratulations and welcome to our ture or level of difficulty for the size ensembles have finished. This may newest ACDA Student Chapters at Shep­ of ensemble provide you with more time to herd College in Shepherdstown, West Vir­ evaluate the performance level of ginia and at Oldahoma State University The above "pitfalls" are most appropriate the district and time to better ac­ in Stillwater, Oldahoma! to comment upon since they are factually quaint yourself with the evaluation oriented and they can serve as a basis for form. definitive, objective suggestions for im­ provement, which may be made to the Festivals are meant to be educational director and the ensemble. All ambiguity and your job, as an adjudicator, is to offer in your comments for improvement must suggestions for improvement which pro­ be eliminated in order to provide clear, vide a means for growth and develop­ ... Rf:taID ra.R CCN:fRTS : usable information. ment. It is appropriate to mention a..L. Sou11.dMJe'lx . As you begin your adjudication assign­ positive elements from the performance. Specializing in Live Choral Recordings ment, remember the following: In fact, compliments are extremely valu­ -Educator Rates Available . -Graphic Design able in the learning process. Students -Traveling Studio -Duplication Amer Isse / Owner 503.407.4244 l.Be fair, consistent, direct, and and their director appreciate knowing that Portland, Oregon www.aisoundwerx.com clear, judging the actual perfor­ the many hours of rehearsal paid off in mance, not what you think they could have done under different cir­ cumstances or with more appropri­ ate literature. 2. Comment on positive aspects of the performance, provide construc­ tive comments, and suggest ways to improve, which will lead to long~ term learning. 3. The rating of the ensemble should be secondary to the overall educa­ tional process. 4. Be familiar with the standards and regulations governing the district's festival. The festival man­ ager will assist you with any ques­ tions or rules to which you must Emory University adhere. in Atlanta . 5. Be familiar with divisional stan­ dards regarding ratings and expec- . Master of Music in Choral Conducting Master of Sacred Music in Choral Conducting tations. 6. Assign ratings with consistency i~F,~lij~~i!f~;;I\~gJfs~!?y .. @1~J1.g;2IfSti~~~·d·j and provide constructive comments Eric Nelson, Director of Choral Activities National and International Touring Opportunities with integrity. For information contact: EMORY 7. Direct your comments to the stu­ Director of Graduate Studies dents and to the director. Department of Music, Emory University 8. Your comments should be legible Atlanta, Georgia 30322 and understandable. 404.727.6445 9. Suggestions should be succinct http://www.emory.edu/MUSIC . ~ but it is not constructive to write one or two words in each category

VOLUME FORTY-TWO NUMBER EIGHT 39 HIGH SCHOOL CHILD-REN'S CHURCH' est "Finest repertoi "Tbe (tn e~e~ "Cburcb rH~IS!C'S CH OIRS' nd CH 0 IRS vel' organIZe, L H 0 IRS t preSllglOllS conductors .a sf" e b'ldren s rHOS even. II" bistoric settmg . June 21 - 27, 2003 ford)~irs!" July 29 - Aug 4, 2003 June.12 -18, 2003

Sf. Giles Cathedral Festival Concert York Minster Westminster Hall Festival Evensong Festival Choir & Orchestra Canterbury Cathedral Festival Concert

Sf. Martin-in-the-Fields Dr. Eph Ehly Individual Concerts University of Concerts Missouri Fourth-An Sixth Annual British-American Church High School Choral Festival Children's Choir Festival (Video Available) Music Festival (Video Available) . Featuring Festival Choir Concerts at York Minster Live in the shadow of majestic Canterbury Featuring Festival Choir Concerts at Britain's Cathedral, and Westminster Central Hall in Cathedral where choral music began in 597 A.D. most historic locations of the .Faith-St. Giles London with orchestra. Individual concerts at Festival Choir Concerts, Services and Workshops Cathedral, Edinburgh; Canterbury Cathedral, st. Martin-in-the-Fields, st. Paul's Cathedral, in Canterbury Cathedral and Final Festival Choir Westminster Central Hall with orchestra. etc. Custom itineraries can include extensions Concert at Westminster Central Hall with Custom itineraries can include extensions with concerts throughout Britain orchestra. Individual choir concerts in t~ explore your denominational heritage! providing educational accountability by enhancing Canterbury Cathedral, st. Paul's Cathedral, and supporting your choral curriculum. st. Martin-in-the-Fields, etc. Optional extension Conducted by DAVID FLOOD, .' to Paris with a concert at Cathedrale Notre­ Master of Choristers, Canterbury Cathedral, Conducted by DR. EPH EHLY, Dame de Paris and a major evening concert at and MICHAEL HARRIS, Univ. of Missouri, Eglise de la Madeleine. Pre and post-festival .Master of the Music, St. Giles Cathedral . and PHILIP MOORE, extensions with concerts throughout Britain. Master of the Music, York Minster Conducted by HENRY LECK, Indianapolis Children's Choir, and DAVID FLOOD, Master of the Choristers, Canterbury Cathedral MARCH 2002 CHORAL JOURNAL

2002 SUMMER FESTIVALS & WORKSHOPS

Editor's Note: Following is a partial listing of choral events talcing plac~ May 31-June 2 June 3 -August 2 (weekly) between April and early Sepember, Cantor Express Duquesne University Summel' 2002 2002. Events are listed chronologically Baton Rouge, Louisiana Duquesne University and include festivals, workshops, clinics, i Pittsburgh, Pennsylvania seminars, masterclasses, conferences, Faculty: Melanie Coddington • Carol • Clinicians: Brady Allred • Christine and summer courses. Clinicians, where S. Grady (Detroit) • Joe Simmons (ex- . Jordanoff applicable, are given in boldfaced, cept Detroit) centered type; contact information John T. Mumper appears at the end of every entry. National Association of Musicians Mary Pappert School of Music Information for this listing was solicited 225 Sheridan St., NW' Duquesne University from ACDA state presidents and from Washington, DC 20011 600 Forbes Ave. music industry members on the Choml 202/723-5800 (voice) Pittsburgh, PA 15282-1803 Journal advertising list. 202/723-2262 (fax) . 800/934-0159 (voice) 412/396-5479 (fax) . New Orleans Children's Chorus 802/862-2200 (voice) 787 Harrison Avenue, Suite 202 802/862-2251 (fax) New Orleans, LA 70124 June 3-7 504/488-5973 (voice) School for Eastern Church Musicians Washington, DC

May 25 -.27 Faculty: David Bridge • J Michael June 10 -12 Heartland Children's Choral Festival Thompson Gregorian Chant School ! Des Moines, Iowa. Buffalo; New York National Association of Musicians .Clinicians: Henry Leck • Kathleen 225 Sheridan St., NW Faculty~· AnthonySorgie-J Michael R(}dde .. Tony Guzman -James Rodde Washington, DC 20011 ' Thompson 202/723-5800 (voice) Barbara Sletto 202/723-2262 (fax) . National Association of Musicians • 525 E. Ninth St. . 225 .Sh(!ridan St.,NW Des Moines, IA 50309 •.. Washington, DC 20011 • 515/262-8312 202/723~5800 (voice) . 202/723-2262 (fax) : .

VOLUME FORTY-TWO NUMBER EIGHT' 41 CHORAL JOURNAL MARCH 2002

June 10 -14 202/723-2262 (fax) Thomas Westfall • Boyd Bacon Stage School for Organists-Choir Directors Techniques: Craig Ellingson • Alexander Milwaukee, Wisconsin Techniques: Robert Rickover

Faculty: Laetitia Blain • Rebecca Dr. William Wyman Gaughan • James Kosnik • J Michael June 11.-13 Department of Music . McMahon High School Solo Singers Workshop Nebraska Wesleyan University" , Nebraska Wesleyan University Lincoln, NE 68504 National Association of Musicians Lincoln,Nebraska 402/465-2288 (voice) 225 Sheridan St., NW 402/465-2179 (fax) Washington, DC 20011 Clinicians: HJice: Jana Holzmeier • , 202/723-5800 (voice) Lorraine Beadell .. Dawn Pawlewski •

October Is Breast (ancer Awareness Month June 12 - August 18 Aspen Music Festival and School Start rehearsing now so your Aspen, Colorado chorus can ... Clinicians: Adele Addison • Vinson Cole • Irene Gubrud • Susanne Mentzer • SING FOR W. Stephen Smith • Paul Sperry • Viviane Thomas • Edward Berkeley • THE CU TM! Edward Anderson • Richard Bado • Garnett Bruce • William Hobbs • Accessible 'for High Schoot College, Timothy Long • Kenneth Merrill • Church, and Community Choirs Sylvia Plyler • Sally Strunkel

Sing for the Cure™ - A Proclamation of Hope is a 60-minute, II-movement choral song Office of Student Services cycle complete with full orchestra, chamber'orchestra, or piano accompaniment. Individual pieces 2 Music School Road may be performed independently or use several selections for a mini-program. Published by Shaw­ Aspen, CO 81611 nee Press, Inc., the libretto presents the various "faces" of breast cancer; ie, Taking Control, The 970/925-3254 (voice) Mother's Voice, Pursuing a Cure, and Proclaiming Hope. 970/925-5708 (fax) The work includes information from the Susan G. Komen Breast Cancer Foundation that will help you generate support from your community for your performance of this life-changing work. Don't miss the opportunity to Sing for the Cure. Lyrics by Pamela Martin Orchestration by Brant Adams June 14 -16 The Cornerstone Choral Workshop

Sing for the Cure (collection) ...... Various ...... Mulliple Voicings ...... GA0119 Who Will Speak? (The Community Voice) ...... Michael Cox ...... SAlK ...... A2126 Borrowed TIme (Facing Diagnosis) ...... Alice Gomez ...... SAlB ...... A2127 The Promise Lives On (The Portner's/Spouse's Voice) ...... Rosephanye Powell ...... SAlK ...... A2128 Clinicians: Bruce vantine • Rolf Livin' Out Loud Blues (laking Contrail ...... Robert Seeley ...... TT8K ...... C031 0 Anderson • Kathryn HoJJland Come to Me, Mother (lhe Child's Voice) ...... Jill Gallina ...... SSA ...... B0598 Valse Caprice (Tumor Humor) ...... Palli Drennan ...... SAlK ...... A2133 Attn: Renee Who Will Curl My Daughter's Hair (The Mother's Voice) ...... David Friedman ...... SAlB ...... A2129 Mt. Carmel Ministries Groundless Ground (Pursuing a Cure) ...... w.r Greer ...... SAlK ...... A2130 Girl in the Mirror (The Sister's Voice) ...... Stefania de Kenessey ..... SAlB ...... A2131 P.O. Box 579 One Voice: I Will Not Be Silent (Proclaiming Hope) ...... ;Joseph M. Martin ...... SAlB ...... A2132 Alexandria, MN 56308 FREE Highlights Book (entire collection) ...... P9150 320/846:..2744

June 16 - 21 Children's Choral Camp University ofSt. Thomas St. Paul Minnesota

Clinician: Angela Broeker

VOLUME FORTY-TWO 42 NUMBER EIGHT MARCH 2002 CHORAL JOURNAL

Graduate Progams in Music Education Department of Music Faculty: Bobby Fisher • Mark Friedman University of St. Thomas Nebraska Wesleyan University • Steve Petrunak • Jaime Rickert • 6511962-5870 (voice) Lincoln, NE 68504 Janet liOgt . 800/328-6818, ext. 2-5870 (voice) .402/465-2288 (voice) [email protected] 402/465-2179 (fax) . National Association of Musicians • [email protected] 225 Sheridan St., NW . http:// music.nebraskawesleyan~edu Washington, DC 20011 June 16 -21 202/723-5800 (voice) . Nebraska Wesleyan Children's Choir 202/723-2262 (fax) . Camp [email protected] Nebraska Wesleyan University June 17 - 21 www.npm.org Lincoln, Nebraska Choral Conducting for the 21"t Century University of Miami Summer Clinicians: Elaine Quilichini • Jo Kirk • Directors' Institute Linda Hulsey Coral Gables, Florida June 17 -21 Voice Fundamentals Dr. William Wyman Clinicians: Rodney Eichenberger .. University ofSt. Thomas Department of Music Mark Aliapoulios • Jo-Michael Scheibe • St. Paul Minnesota Nebraska Wesleyan University Mary Scheibe Lincoln, NE 68504 Clinician: Leon Thurman 402/465-2288 (voice) Jo-Michael Scheibe 402/465-2179 (fax) University of Miami Graduate Progams in Music Education waw~NebrWesleyan.edu P.O. Box 248165 University of St. Thomas http://music.nebraskawesleyan.edu Coral Gables, FL 33124 651/962-5870 (voice) 305/284-4162 (voice) 800/328-6818, ext. 2-5870 (voice) 303/284-4839 (fax) [email protected] June 16 - 22 [email protected] (entry deadline: May 24) Longhorn Music Camp (All State Choir Camp) June 17 -21 University ofTexas School ofMusic June 17 -21 Workshops in Music--VocalJazz Austin, Texas School for Guitarists Western Michigan University Erlanger, Kentucky Kalamazoo, Michigan Clinicians: James Morrow • Suzanne Pence

Lynne V. Lange The University ofTexas at Austin School of Music Austin, TX 78712 512/232-2080 (voice) 512/232-3907 (fax) [email protected] www.longhornmusiccamp.org

June 16-28 The Presbyterian Association of Musicians KOdaIy Certification Workshop 100 Witherspoon Street LevelsI, II, III (OAKE accredited) Louisville, KY 40202-1396 Nebraska Wesleyan University website: www.pam.pcusa.org Lincoln,Nebraska email: [email protected] Phone: 1-888-728-7228, xt 5288 Clinicians: Jo Kirk • Linda Hulsey • Fax: 502-569-8465 Jeanette Young ··Gabor.Viragh • William wyman Offering leadership in the areas of worship,

Dr. William Wyman music, the arts, and professional concerns.

VOLUME FORTY-TWO NUMBER EIGHT 43 CHORAL JOURNAL MARCH 2002

Clinician: Stephen Zegree June 20-23 Music Department Vermont .International Choral Festival 7400 Augusta St. . Johnny Pherigo Stowe, vermont River Forest, IL 60305 Coordinator of Graduate Studies 708/209-3067 (voice) School of Music Jodi Breckenridge 708/209-3176 (fax) Western Michigan University Music Contact International Kalamazoo, MI 49008 119 S. Winooski Ave. 616/387-4672 (voice) Burlington, VT 05401 800/624-0166 (voice) June 24-25 802/862-2200 (voice) Finale 2002 Software Introduction 802/862-2251 (fax) Workshop June 17 -28 AABACA KodaIy Certificate Course Minnetonka, Minnesota Levels I, II, III " " .,' University ofSt. Thomas . Call Peg for registration info St. Pau4 Minnesota June 23 - 28 952/933-730i(voice) Art of Music Clinicians: Ann Kay • Sue Leithold • Concordia University Bruce Swank • Julie Swank • Jill Trinka River Forest, Illinois

Graduate Progams in Music Education Clinicians: Concordia University Music June 24-28 University of St. Thomas Faculty • Chicago area professional Choral Music Experience Certification 651/962-5870 (voice) peiformers Course 800/328-6818, ext. 2-5870 (voice) Elon University Jean Harrison Elon, North Carolina Concordia University Clinicians: Cheryl Dupont • Bob Chilcott

Cheryl Dupont 5604 Woodlawn Place New Orleans, LA 70124 504/488-3889 (voice) Not Just Performance Tours

Individuals can now join our Cultural Tours .' .'. June24-28 to exciting destinations throughout Europe, Great Plains Music Ed.ucation i · . Worksh~P£~ ____ .. _._ ... ____._· _.~_-:-:-;-;-, __ -~-.. - Asia and N ortfi America. '--,---7--,--1 · Emporia State University · Emporia, Kansas. For individuals or .couples who desire a distinctive, sophisticated travel experience. Comfortable accommodations in the heart of great cities, Clinicians: Randall Stroope • culinary delights, historic sites and culturnllandmarks - and hear sorneof the world's great perrorrners in concert. · Janeal Krehbiel~. VaJerieLippoldt-:-Mack • Vicki Salmon • Martin Cuellar • Tours to: Holland, Belgium, France, Germany, Czech RepUblic, Austria, Italy, Karen Endel • Jim Phillips • Spain, St. Petersburg and Helsinki, Edinburgh Festivcil, and Japan. Andrew Houchins Contact us and check out our website. Terry Barhain Department ofM1.lsic Box 4029 Emporia State University . Emporia, KS 6680 1 Concept Tours, Inc., 170 W 74th Street, New York, NY 10023 620/341-5436 (voice) Tel: 800-300-8841: 212-580-0760: Fax: 212-874-4554 ••• www.concept-tours.com/conceptour@aoi;com

NUMBER EIGHT VOLUME FORTY-TWO. 44 MARCH 2002 CHORAL JOURNAL

"Nanortal ASsoCiati()n ofMllsidans June 24-28 o June 26 - July.26 Richard Miller in the Midwest: The Sys­ o225 Sheridan St.,NW Rensselaer.oProgram of Church oMusic tematic Vocal Technique Washington, DC 20011 and Liturgy Concordia University 202/723-5800 (voice) Rensselaer, Indiana River Forest, Illinois .202/723-2262 (fax) <:[email protected]> Clinicians: Keith Branson • Lawrence Clinician: Richard Miller Heiman ·John McIntyre • Edwin Quistoiff· Patricia J Hughes • Richard Sarah Beatty Fragomeni • Ralph verdi • Graeme Concordia University June 25 - 29 .Cowen Music Department LPM Slummer Conference 2002 7400 Augusta St. Carthage College Rev. Keith Branson River Forest, IL 60305 Kenosha, Wisconsin Saint Joseph's College 708/209-3080 (voice) Rensselaer, IN 47978 708/209-3176 (fax) Clinicians: Teresa Bowers • David 800/447-8781 (voice) Cherwien • Carol Doran • Nathan B. [email protected] . Ensign • Mimi Farra • Raymond Glover www·saintjoe.edu/academics/liturgy .

o • Marilyn Keiser. Randall Lee. Anna 0 M Leppert-Largent • Clayton Morris • June 24-28 David O'Steen • Marti Rideout • Scott June 27 - 28 Vocal Jazz Techniques weidler • Pau westermryer The Complete Choral Musician University ofSt. Thomas The Juilliard School St. Pau4Minnesota Marti Rideout New York, New York LPM Communications Office Clinicians: Denis Allaire • Larry 6320 Coverend Bridge Rd. Clinicians: Judith Clurman • McCaghy Burke, VA 22015 Cori Ellison • Cynthia Hoffman • 7031250-6757 (voice) '.' .Graduate Progams in Music Education 703/250-2479 (fax) o University. of St. Thomas -0 M tlSiC t)ivecto~·X 651/962-5870 (voice) 800/328~6818, ext. 2-5870 (voice) .' ~~()n(Jricotor ' June 26-27 The All-American Boys Chorus PrintMusic&& FriendsWorkshop Full-time Music Director responsible for June 24-28 AABACA artistic, musical and educational Minnetonka, Minnesota standards of highly respected organi­ Workshops in Music--Choral zation; programming for concerts, Conducting and Classical Period Music recordings, international touring, opera Western Michigan University Call Peg for registration info and orchestral soloists and colla­ Kalamazoo, Michigan 952/933-7307 (voice) borations. Requires outstanding leadership skills; Clinician: Joe Miller I experience with boys' voices and ability to inspire and motivate. ages 8 to adult; Johnny Pherigo broad knowledge of repertoire with wide Coordinator of Graduate Studies June 26 - July 2 diversity of styles including popular Pacific International Children's Choir choreographed, choral/orchestral, multi­ School of Music cultural; organized management style. Western Michigan University Festival Kalamazoo, MI 49008 Eugene, Oregon Send resume to: Music Director Search 616/387-4672 (voice) All-American Boys Chorus Clinician: Rebecca Rottsolk POBox 1521 Costa Mesa, CA 92628-1521 Peter Robb Salary commensurate with experience. June 25...,.28 541/465-9600 Application deadline March 15, 2002. NPM Region III Convention Interview process will begin April 2002. Position start date: 6/15/2002. Anaheim, California Additional infonnation available at AABC o • website: 'W"W"W'.taa bc_org Faculty: James Jordan The All-American Boys Chorus is an Equal Oppportunity Employer.

VOLUME FORTY-TWO 45 NUMBER EIGHT CHORAL JOURNAL MARCH 2002

James Litton • Nancianne Parella • June 27 -30 372 Prospect St. Robert White • Fred Carama • McClosky Institute of Voice Brockton, MA 02301 Jessica Wolfe Help for the Troubled Voice-Voice 508/587-3001 (voice) . Production and Disorders, "Where : The Juilliard School Evening Division : Science Meets Art Katherine Gertson . Seattle University 60 Lincoln Center Plaza : seattle, Washington June 28 - 30 New York, NY 10023 • . The Cornerstone Choral Workshop II 212/799-5040 . Clinicians: Certified McClosky voice St. Louis, Missouri i Technicians Clinician: Bruce Vantine Deborah Fencer i The Cornertone Choral Workshop II P.O. Box 4010 Florissant, MO 63032 314/838-4383 Festival 500 Sharing the Voices June 28-July14 Oregon: Bach Festival Eugene, Oregon INVITES APPLICATIONS FROM CHOIRS FOR 2003 Clinicians: Helmuth Rilling • (June 29 - July 6) Anton Armstrong;' Thomas Somerville • , Deadline: June 30,2002 Robert Levin .

OBFStaff GUEST CONDUGTORS: 1257 University of Oregon Bobby McE,e!"rin and ErkkiPohj~la . Eugene, OR 97403 . 8001457-1486 (information) •. ·'·<:::0::::~:;:'\,.,.",.:, .. " \<::"".:~.<».~< .. <~.) "<-~:~,: ,~, GUESr',PERFORMERS:/ '<':. 541 1682~ 5000 (tickets) "'<'> ... , \ .' ',1 /~ .. r '. ::. ..,.... • ":' 541/346-'5669 (fax) Linda Tillerfanfltl:i¢·~ulturat·.lIeilt:age,~:q:h_~~r ,.:':.~.:':~~5.~ .. ~.',::.:~ . ,,' " " '<:~~.~ .. '_'.'.: ~ 'f " .. :~~,. // '::~~C~~') \{\ '~'\" ':,", f;.; MO. ':":':'\:::"" •• v. .,.\ .'

"::;:'~::::::::;:::::." __ .. _:~NJOY .••. i...... "i::<::.'~ / \\ 7 \. 'j~t(j~r.amming wi~~iifilpr~'~pp~~hi~m~§·for:pet.f~rm;i#c~. \\ \\ July 1 - 3 --"I-----+:--ii:_-',-\\~_WDrks1l9ps~WitbJnternationaLclinicians. ·",>1 \l_\'_:i-: -' - --,Wtchita-State-University_Choral.____ _ • Special gu~s~s ceiebrafiiigAf~ic'~n"A:ffiet:ican,hiIlsfC:~-'c'BfUes;'GQsp~l,i,and S~jritVals Workshop . \ \ •PerfoqI,lari~e ill the Grande Finale massed chorr: .. ' ...... Wichita, Kansas •\I~)2003 Festi~al500 is the host of the SongbriggeProj¢ef.~:' .. • Indlv)apal~' m~xyarticipate through the,,~ol1}e:8()lo-pro&~al1}~~:::('! Clinicians: Charles Robinson • • All iriH:4e beautif~:A-tl~tic islag9-settjngofNewfoundJ,aild /'/ Thomas 'Wine • Harrison Boughton • \\in North Ani'erit~1s=oidesfdty, St. John'~) l/ {Ie;> Marsha Granberry , ," '" .. '~ . " ' / ' Thomas Wine Wichita State University AIUUVE',<:.'.". EARLY AND./,")". ATTEND /:) ...':",' //-:/ School of Music The Phenomenon cof,Siqging Internatiopij.'Sympo,si~l:Vdime 26-29 1845 Fairmount (Proceedings nO"W'availablefrorn:'Sympo,sium I, Ii, and III) / / ", Wichita, KS 67260 316/978-6125 (voice) FOR APPLICATION FORMSrANf):INFORMATION CONTACT: Office: 709 738-6013 Fax: 709 738-6014 Email: [email protected] Web: www.festival500.com July 1-5 7 Plank Road, st. John's, NF Canada AlE 1H3 BeginnfugChoral Conducting l!n~1!C!sityof§~~ Thomas

VOLUME FORTY-TWO NUMBER EIGHT 46 MARCH 2002 CHORAL JOURNAL

St. Pau4 Minnesota David Bridges • David Eicher • 800/328-6818, ext. 2-5870 (voice) Steven Fleming • Patty Williams Clinician: Rich Bjella Steve & Vicki Fey Graduate Progams in Music Education First Presbyterian Church July 9 -12 University of St. Thomas 701 Florida Ave. NPM Region II Convention 6511962-5870 (voice) Bristol, TN 37620 Omaha, Nebraska 800/328-6818, ext. 2-5870 (voice) 423-764-7176 (voice) Faculty: Michael WuStrow • Paul French : . • James Savage • John Romeri .

July 1- 5 July 7 - 26 National Association of Musicians Kodaly Master Class The American Kodaly Institutute 225 Sheridan St., NW. University ofSt. Thomas Kodaly Certification· Program (Level II) Washington, DC 20011 . St. Pau4 Minnesota Loyola College 202/723-5800 (voice) : Baltimore, Maryland 202/723-2262 (fax) Clinician: Jill Trinka ' Clinicians: Betty Bel"taux • Graduate Progams in Music Education Laurdella Foulkes-Levy • Amy Huggins • University of St. Thomas Robbin Schaffer 6511962-5870 (voice) July 10 -12 800/328-6818, ext. 2-5870 (voice) Ramona Galey Illinois ACDA Summer ReTreat Executive Director Decatur, Illinois Children's Chorus of Maryland 100 E, Pennsylvania Ave., Suite 202 Clinicians: Anton Armstrong • Andre July7.,..12 . Towson, MD 21286 Thomas • Karen Brunssen Choristers Guild William Jewell College 410/494-:1480 (voice) Summer Seminar Ron Kiesewetter Liberty, Missouri 121 WRohman Metamora, IL 61548 Clinicians: Kevin McBeth • Michael 309/367-4151 (office) Kemp • Steve Roddy ~Lynda Fray • Jan July 8 -12 309/367-9320 (home) Smith • R. G. Huff· James Steel Choral Conducting & Technique University ofSt. Thomas Emily Everett St. Pau4 Minnesota Choristers Guild .2834 W. Kingsley Rd. Clinician: Carroll Gonzo Garland, TX 75041 July 10- 20 . 972/271-1521, ext. 233 (voice) Graduate Progams in Music Education Long Island Choral Festival & Institute 972/840-3113 (fax) University of St. Thomas The Knox School 6511962-5870 (voice) Long Island, New York

July 7 -12 A Toronto Children's Chorus Westminster Conference on ~;;;» CONDUCTING INTERNSHIP Worship & Music Founded in 1978 by Jean Ashworth Bartle. the Toronto Children's Chorus offers children ages 7 -17 an exceptional Westinster College artistic and educational experience through the study and performance of fine choral repertoire. The TCC is a 300-voice internationally renowned ensemble which performs, records and tours worldwide. The successful New Wilmington, Pennsylvania candidate will have the opportunity to study conducting and rehearsal techniques, and to become immersed in the TCC's inner artistic and administrative operations. This position is located in Toronto, Canada. for the term of August 19, 2002-June 15, 2003. Two half terms of August 19-December 23 or January 14-June 15 are possible. Faculty: Nora Tubbs Tisdale • The condUcting intern works with the Music Director at music camp (August 25-31). all rehearsals (Monday, Tuesday, Friday) and approx. 15 concerts. as well as on possible tours and recording projects. This position is Laura Mendenhall • Michael Hawn • ideally suiled to an arts professional on sabbatical leave, who has a minimum five years' experience teaching Robert Brewer • Timothy W. Sharp • choral music in schools andlor directing a children's community choir. If this position interests you, submit your Randy McChesney • Madeline Bridges * curriculum vitae, cover letter, and other pertinent data by April 15, 2002 to: David VanderMeer • Angela Bond • Jean Ashworth Bartle, Founder!Music Director! Toronto Children's Chorus 2180 Bayview Avenue, Toronto, ON, M4N 3K7, CANADA Patricia Lynn Miller • Deborah Holden­ T (416) 932-8666/F(416)[email protected]!www.torontochildrenschorus.com Hollo·way • Jean Wilmoth • "1 highly recommend this internship program as an invaluably inspiring and enriching oppor/unity for even tho Mary Virginia Bond • Alan Barthel • .experienced conductor or teacher." SUSAN BIALEK, Inaugural Intern Conductor, Hyde Park, NY

VOLUME FORTY-TWO NUMBER EIGHT 47 CHORAL JOURNAL MARCH 2002

July 11- 13 316/978-6125 (voice) Clinicians: Robert Page e Judith Kansas Choral Directors Association Willoughby a others Summer Conference Topeka, Kansas Frances C. Roberts. July 11-18 P.O. Box 458 Clinicians: Eph Ehly • Judy Bowers • The VoiceCare Network Impact Course Northport, L.L, NY 11768 Diane Loomer • Steve Perry - St. John's University 631 1262-0200 (voice) Janeal Krehbiel Collegeville; Minnesota [email protected]> . Thomas Wine Wichita State University Clinicians: John Cooksey a Pat Feit a School of Music Liz Grefiheim a Babette Lightner • 1845 Fairmount Alice and George Pryor e.Axel Theimer • Wichita, KS 67260 Leon Thurman

.Axel Theimer Department of Music St: John's University . Collegeville, MN 56321 . 320/363~3374 (voice)

July 13 - 26 The American Kodaly Institutute Kod:lly Certification Program (Level I) Loyola College Baltimore, Mar:yland

Clinicians: Betty Bertaux • Laurdella Foulkes-Levy • Amy Huggins • Robbin Schaffer

Ramona Galey Executive Director Children's Chorus of Maryland 100 E. Pennsylvania Ave., Suite 202 Towson, MD 21286

the expertise of our concert tour specialists, of our operations staff and our affiliates worldwide, TRC is able to produce tours for all concert ensembles. We begin with your concept and work with you to create the touring experience of a lifetime. July 15 - 16 OCDA Summer Convention University ofOklahoma Norman, Oklahoma

Clinicians: Russell Robinson - Roger Emerson- Rollo Dilworth

Tony Gonzalez 601 Mimosa Dr. Call Toll Free: 888 330-5500 • Email: [email protected] Norman, OK 73069 See our Web site at: www.tourrecons.com [email protected] Exciting tours of Great Britain, France, Scandinavia, Eastern Europe, Australia, Pacific Northwest, USA, Italy, Canada, you name it! Where is your dream destination?

VOLUME FORTY-TWO NUMBER EIGHT 48 MARCH 2002 CHORAL JOURNAL

July 15 -19 Joan Litman • Fernando Malvar-Ruiz • Jefferson City, Missouri School for Guitarists . . Julie Swank • Bruce Swank • Menlo Park, California Eva Vendrei • Gabor Viragh Clinicians: Eph Ehly • Marjorie Camp • Richard Bjella Faculty: Sean Aloise • Bobby Fisher • Sandra Mathias Rob Grant • Bob Hurd • Capital University David Rayl Jesse Manibusan 2199 East Main St. 2206 Faulkner Ct. Columbus, OH 43209 Columbia, MO 65202 National Association of Musicians 614/236-6267 (voice) 573/886-6276 (voice) 225 Sheridan St., NW Washington, DC 20011 202/723-5800 (voice) 202/723-2262 (fax) July 16 - 19 WCDA Summer Singspiel July 17. -20 . : La,Cross, Wisconsin Te:W Tech All-State Choir Camp Texas Tech University Matthew· Wanner Lubbock, Texas July 15 -August2 Muskego High School KodaIy InstitUte at CapitalUillversity . 262/679~2300, ext. 219 (voice) . .Clinician:John .Dickson 3-Level Certification and ., [email protected] Master's Degree CoUrses· Anna Whitlock Henry . Capital University ... Special Music Activities' Columbus, Ohio . , Scho()~ of Music : July 17. - 20 Box42033 MCDA 2002: Celebrating the American Spirit!

The John Ness Beck Foundation proudly announces its winners for the first annual John Ness Beck Foundation Awards First Place: K. Lee Scott's So Art Thou to Me published by Augsburg Fortress Second Place: Alfred V. Fedak's Christus Paradox (Choral Variations on /;'Picardy") published by GIA Publications, Inc.

A distinguished panel of composers and retailers selected these two compositions as being worthy of the first annual John Ness Beck Foundation Award. We would like to congratulate both Mr. K. Lee Scott and Nr. Alfred V. Fedak on being chosen.

The Foundation was established by John Ness Beck in memory of Randall Thompson and Joseph Clokey. It will recognize outstanding achievement in choral composition and arrangement of traditional church music, enhance and further the careers, study, education· and experience of promising composers and arrangers, and promote and stimUlate the learning of choral composi­ tion and traditional church music.

VOLUME FORTY-TWO 49 NUMBER EIGHT CHORAL JOURNAL MARCH 2002

Lubbock, TX79409 800/328-4648 (toll free voice) Christel DeHaan Fine Arts Center 806/742':2225 (voice) University ofIndianapolis 806/742-4204 (assistant) Indianapolis, Indiana 806/742-4193 (fax) Clinicians: Paul Salamunovich • . July 19 - 21 Janeal Krehbiel Cantor Express Green Bay, Wisconsin Paul Krasnovsky July 18 - 21 U niversi ty of Indianapolis McClosky Institute of Voice Faculty: Melanie Coddington • Carol S. [email protected] Help for the Troubled Voice-Voice Grady (Detroit) • Joe Simmons (except Production and Disorders . . . Where Detroit) Science Meets Art Emory University National Association of Musicians July 21 - 26 Atlanta, Georgia 225 Sheridan St., NW . Cho~isters Guild Calvin College Washington, DC 20011 Stiminer Seminar Clinicians: Certified McClosky WJice 202/723-5800 (voice) GrandRapids, Michigan Technicians 202/723-2262 (fax) Clinicians: Arnold Epry • Michael Kemp Deborah Fencer • Steve Roddy" Michael Bedfm¥! • . 372 Prospect St. Lynda Fray • Andrew Foster Conners • Brockton, MA 02301 James Steel 508/587-3001 (voice) July 20 -27 Barbara Merry '. TheVoiceCare NetworkImpact Course . Choristers Guild St. John's University 2834 W. Kingsley Rd. . Collegeville, Minnesota Garland, TX 75041 . 972/271-1521, ext. 232 (voice) .July19- 20 Clinicians: John Cooksey • PatFeit • 972/840-3113 (fax) Augsburg Fortress Music Clinic Liz Grefiheim.·. Babette Lightner • . Dallds, .Texas ·Alice and George Pryor • AXel Theimer • Leon Thurman Clinicians: Marian Dolan • July21-27 Robert Hobby ·OthersTBA Axel Theimer . CONCORA Festival 2002 Department ofMusic St. Joseph College Jane Knappe St. John's University west Hartford, Connecticut Augsburg Fortress Publishers Collegeville, MN 56321 4141 Station St. (Manayurik) 320/363.. 3374 (voice) Clinician: Richard Coffey Philadelphia, PA 19127 .. ---'----'------'-----'-- ·~------GGNGGR:A:--- 860/224-7500 New by Robert Jordahl July21-23 Indiana Choral Directors Association Sing a Song of Summer Conference July21-28 Shakers ,Brighdeaf Music Workshop 4 songs for SATB a cappella Durham, North Carolina high school or college choirs. CQ2116, $1.65 Clinicians: David Bartlett • Greg Gilpin Perfect for that Americana concert. • John Jacobson • Duane Davis • Scott Hill • Ann Huff· Dan Huff· Samples/midi files online at Robert Lawrence • Frank Williams • C!Cantus ~uercus llress Chad Alexander. • Sandi Duncan ,; Annette Layman • Tara Penick Visit our Internet store http://cantusquercus.com Lori Greene Fax 805·494·4250 . BrightleafMusic Workshop

VOLUME FORTY-TWO NUMBER EIGI-IT 50 MARCH 2002 CHORAL JOURNAL

1800W. Martin Luther King, Jr., Pkwy. Headliners: CraigJessop -.Mack Wilberg CallPeg for registration info Suite 103 " David Brunner - Stephen Hatfield - 952/933-7307 (voice) Durham, NC 27707 The Bobs - "Forever Plaid" .. The Spb'it 919/493-0385 (voice) Chorale ofLos Angeles • Bone Pueri Joleen Nelson 1CDAExecutiveSec;retary July 24 - 26 29 Oak Ridge Ave. School for Children's Choir Directors July 22 - 23 Mt. Vernon, IA 52314 Belleville, Illinois Finale 2002 Software Introduction 319/895-6868 (voice) Workshop Faculty: Paul Colloton • Veronica Fareri AABACA .. Renee Forrester • Lee Gwozdz Minnetonka, Minnesota National Association of Musicians July22-26 225 Sheridan St., NW Call Peg for registration info Developing the Child Voice: Washington, DC 20011 952/933-7307 (voice) Classroom and Choral Singing 202/723-5800 (voice) University ofSt. Thomas 202/723-2262 (fax) St. Pau4 Minnesota Clinician: Susan Knight July22-26 Chesapeake Bay Choral Works~op Graduate Progams in Music Education July 24-July 26 St~ Michael's,Maryland University of St. Thomas Washington ACDA Summer Institute 6511962-5870 (voice) University ofPuget Sound . Clinician: RodneyBichenberger 800/328-6818, ext. 2-5870 (voice) Tacoma, Washington MarceyW.· Leonard Clinician: Simon Carrington CClS, Inc. 10962 Richardson Rd., Suite H July 24 -25 Leslie Guelker":Cone Ashland, VA 23005 Finale 2002 Software Introduction Western Washington University .800/432~5095 (voice) Workshop Department of Music ; AABACA Bellingham, WA 98225 Minnetonka, Minnesota .360/650-3772 (voice)

July 22 - 26 Church Music Week @ Wmdermere W'indermere Baptist Conference Center Lake Ozark, Missouri

Clinicians: Harold Best • Chip Stam co JeJfCranfille Janie Oliver· Betty Bedsole • Derrell Billingsley .. Bobby Jones • Becky Lombard • Cathy Benton

Ken Litton 800/746-6227, ext. 4511430 (voice) [email protected]> Think you know: the sound· Grab three other guys and • The gold medal quartet mns of barbershop harmony? : enter. Registration is easy,,: $3,500,silver receives $2,500, Think again. Listen to some '. coachlllg and assIstance and three bronze medalistswm, July 22.- 25 great collegiate quartets. are avanable, and the $1,000 each. Cash scholarships Iowa Choral. Directqrs Association, www.spebsqsa~org/ contests are a thrill!, also go to 16 regional w:inners. college.- 800·,,76!'$ING ,'[email protected] I Summer Convention/Symposium : Norih /owa, Community ,College, ~ MBf)lA America Collegiate Barbershop Quartet Contest • \a Presenled by Ihe Sad ely for Ihe Preservalion and Encouragemenl of Barber Shop Quorlel Singing in America [,.l}fa:rQt;/i{ty,lq1f!a .~ ,Sponsored by MBNA America Bonk , '

VOLUME FORTY-TWO Sl NUMBER EIGHT CHORAL JOURNAL MARCH 2002

.<1esli<:[email protected]> July 26 -28 Music Mart Choral Department Buena Vista University Showchoir Camp 800/545-6204 George Guenther (registration form Storm Lake, Iowa ' only). th 677 57 Ave. E Clinicians: Joel Johnston • Jackie Bryan Puyallup, WA 98371 • Paula Keeler • Lisa Evans • July 29 - 30 Mark Mangold • Robert Barry • Augsburg Fortress Music Clinic Peter Carlson Minneapolis, Minnesota

July 26 Paula Keeler, Choral Director Clinicians: Marian Dolan • Music Mart's Church Choral Buena Vista University Robert Hobby • Others TBA Reading Session 610 W. 4th St., Box 2934 Albuquerque, New Mexico Storm Lake, IA 50588 Jane Knappe 712/749-2193 (voice) Augsburg Fortress Publishers Clinician: Jean Anne Shafferman 4141 Station St. (Manayunk) Philadelphia, PA 19127 • Music Mart Choral Department 800/328:.:4648 (toll free voice) 800/545-6204 , July 26 - August 4 Dennis Keene Choral Festival .• Kent School ,Kent, Connecticut . July26-.' 27 July 29 - August 2 . ArigsburgFortress Music Clinic; Clinicians: Dennis Keene • Kent School KodaIy Institute at Capital University .5eaitle, Washrngton Vocal Faculty Advanced KodaIy Refresher Course f':> . Capital University Clinicians: Marian Dolan • Deilllis Keene' Choral Festival Columbus, Ohio i ·.RobGlenJ>hillips Uniform~rt Hobby. 212/358-1469 Others TBA www.keenefest.com Clinicians: Marta Erdei • Peter Erdei • Joan Litman • Fernando Malvar-Ruiz Jane Knappe' • Julie Swank • Bruce Swank • AugsblUg Fortress Publishers· . Eva Vendrei • Gabor Viragh 4141 Station St. (Manayunk), July 27 Philadelphia, PA'19127 Music Mart's School Choral Reading Ses­ Sandra Mathias 800/328-:4648 (toll free voice) sion Capital University Albuquerque, New Mexico 2199 East Main St. Columbus, OH 43209 Clinician: Dave Perry 614/236-6267 (voice)

July 29-August2 Summe, Vocal P,og,am Capital University Boychoir Daycamp Steve LaCosse, Director Capital University . Columbus, Ohio June 23-July 6, 2002 (Musica Piccola) Clinicidns:BevanKeating • A challenging, fast paced, two-weeR program that includes: Fernando Malvar-Ruiz

*Vocal instruction *Music rehearsal *Master classes *Movement Sandra Mathias *Acting *Audition class Capital University *Theory and ear training 2199 East MainSt. N"ORTH <:::::AROLIN"A. Columbus, OH 43209 _I...-- 'l..- !Sk::::H:OOL OF T.I-:IE .A..-R:rs 614/236~6267 (voice) For more information, contact: AdmiSsions, NCSA, 1533 S. Main St., Winston-Salem, NC, 27127-2188; telephone 336-770-3290; E-mail [email protected]; online www.ncarts.edu. An equat'opportunity Institution of the University ofNorth Carolina July 29 -August 2 Choral Techniques and Repertoire for

VOLUME FORTY-TWO NUMBER EIGHT S2 MARCH 2002 CHORAL JOURNAL

Middle, Junior, and Senior High Schools University ofSt. Thomas Clinicimis: Bob Chilcott - Robert Sund· ! St. Paul, Minnesota James Litton • Andre Thomas • July 30 -August 2 David Hill -Axel Theimer • Clinician: Angela Broeker NPM Region I Convention Carol Beynon Rochester, New York Graduate Progams in Music Education Carol Stewart i . University of St. Thomas Faculty: Michael Wustrow • 34:Fcix CieekDr.: 6511962-5870 (voice) Richard P. Gibala • Daniel Toven Waukee,IA 50263] 800/328-6818, ext. 2-5870 (voice) 515/987-1405 (voice) National Association of Musicians 225 Sheridan St., NW Washington, DC 20011 July 30 - August 2 202/723-5800 (voice) . Crystal Cathedral Summer 202/723-2262 (fax) July 31 - August 1 Choral Institute Augsburg Fortress Music Clinic Garden Grove, California Chicago, Illinois

Clinicians: Donald Neuen - Clinicians: Marian Dolan • Crystal Cathed1'll1 Ministries :July30 ,-August 5 Robert Hobby 0 Others TBA AmericaFest World Singing Festival Jane Knappe Laura Rothhaar for Men and Boys Augsburg Fortress Publishers Crystal Cathedral Music Ministry Office St. John's University 4141 Station St. (Manayunk) 12141 Lewis St. Collegeville, ll1innesota Philadelphia, PA 19127 Garden Grove, CA92840 800/328-4648 (toll free voice)

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VOLUME FORTY-TWO S3 NUMBER EIGHT CHORAL JOURNAL MARCH 2002

Jane Knappe Augsburg Fortress Publishers 4141 Station St. (Manayunk) . August 1- 3 Philadelphia;PA 19127 August 3 . ACDA-Voices United 800/328-4648 (toll free voice) . Music Mart's School Choral University ofMaryland • Reading Session College Park, Maryland Phoenix, Arizona

Clinicians: Moses Hogan • Clinician: Greg Gilpin Ch~tine Jordanoff· Paul Rardin • August 2-3 Melvin Goodwyn Hinshaw Music CELEBRATION Music Mart Choral Department Chapel Hil4 North Carolina/ 800/545-6204 JayAy Research Triangle Park, North Carolina The Musical Source Washington, DC Clinicians: Mack Wilberg • Craig Jessop 800/2S0URCE August4 7 17 Hinshaw Music, Inc. Idyllwild Arts Festival Choir; P.O. Box 470 /dyllwlld, California . Chapel Hill, NC 27514-0470 August 2 800/568-7805 (voice) Music Mart's Church Choral 919/967-3399 (fax) Reading Session IdyUwildArts SummerProgram: Phoenix, Arizona P.O. Box38: Idyllwild, CA92549i Clinicians: Don Besig • Nancy Price . August 2 -4 909/659-2171, ext. 365 (voice) , ; . Cantor Express. . 909/659':54()3(fax) Music Mart Choral Department Rensselaer, Indiana 800/545-6204 ...... <:Wwrroidyllwil4:ll'ts.Qrg;:. . Faculty: Melanie Coddington e .; Carol S. Grady (Detroit}.eJoe Simmons. (except Detroit) August 5 - 6 August2-3 Augsburg Fortress Music Clinic Augsburg Fortress Music Clinic National Association of Musicians Columbus, Ohio Columbia, South Carolina 225 Sheridan St., NW Washington, DC 20011 Clinicians: Marian Dolan • Clinicians: Marian Dolan • 202/723-5800 (voice) Robert Hobby • Others TBA Robert Hobby." Others TBA 202/723-2262 (fax)

Augsburg Fortress Put,listlers 4141 Station St. (Manayunk) Philadelphia, PA 19127 800/328-4648 (toll free voice) The Latest Chorals for Young Singers • Collegiate • Community • Church AugustS· -,- 9 Elementary • Junior High • Senior High Music in theM:ountains 2002: ACho­ ral Workshop arid Showcase .East Stroudsburg •University East Stroud$buTg, Pefmsylvania Request your FREE copy of • Podium - Music for the distinctive choir . Clinicians: Michael 6-Jill Galina • • Expressions - K- High School • Ovations - K-7 Gt-egGilp,in • Ma~1z Hayes. • . • WorshipSongs • Complete Choral Catalog 800-962-8584 • shallll1ee-info·@sb.awfileeprl

VOLUME FORTY-TWO NUMBER EIGHT 54 MARCH 2002 CHORAL JOURNAL -.....;------=~

David Lantz III • Blaine Shover" Clinicians: Marian Dolan • Patsy Ford Simms • Don Besig· Robert Hobby • Others TBA Pepper Choplin • Lee Dengler • joseph Martin • Mary Martin • Jane Knappe Nancy Price • jimbo Stevens • Augsburg Fortress Publishers J Paul Willams 4141 Station St. (Manayunk) Philadelphia, PA 19127 Krista Montgomery 800/328-4648 (toll free voice) 'Shawnee Press, Inc. P.O. Box 690 49 Waring Dr. Delaware Water Gap, PA 18327 800/962-8584, ext. 290 (voice) August 12 - 16 Choir Director Institute Lakeside, Ohio TRINITY Faculty: Paul Colloton it Paul French • Au~st6- 8 Rob Glover • Cm'ol Perry • LUTHERAN Arkansas ACDA Summer Conventionl Rob Strusinski New Music Reading Clinic SEMINARY Austin Hotel National Association of Musicians Columbus, Ohio Hot Springs, Arkansas 225 Sheridan St., NW Washington, DC 20011 Keynote Speaker: Randall Stroope 202/723-5800 (voice) Master of Arts in 202/723-2262 (fax) Church Music Winston Turpin, Jr. Southside High School Comprehensive musical 4100 Gary St. liturgical and theological Ft. Smith, AR 72908 5011646-6430 (voice/scho~l) August 12 - 16 preparation for careers 501/646-6808 (voice/room) Choral Conducting Workshop in church music 5011648-8204 (fax) San jose State University School ofMusic San jose, Calfornia Clinician: Charlene Archibeque Summer Music Courses 2002 August 8 -:- 10 Charlene Archibeque June 10-14 (I-week course) Buena Vista University School of Music • Perspectives in Choral Conducting Iowa All-State Music Camp San Jose State University • The Christmas Experience Storm Lake, iowa San Jose, CA 95192 June 17-21 (I-week course) 408/924-4333 (voice) o Building Parish Music Programs Clinicians: Everett johnson • • Music Technology Paula Keeler • Mary Citia • , je.ffToleffion -Bill Hott· Brent Peterson June 24-28 (I-week course) ;, jean /3usker • Handbells August 12 - 17 • Mrican-American Music & Worship Paula Keeler, Choral Qirector . Singspiration 2002: A Choral Camp for Buena Vista University Youth . June 10-28 (3-week course) 610 W. 4th St., Box 2934 Edmonton, Alberta, Canada • Liturgical Choir Storm Lalce; IA 50588 712/749-2193 (voice) Clinicians: Mark A. Hafio • Anlele Reis For more information, contact: Pro£ May Schwarz Wendy Praser Director, Master of Arts in .JL Church Music Concordia University Trinity Lutheran Seminary August 9 -10 College of Alberta 2199 East Main Street Augsburg Fortress Music Clinic 7128 Ada Blvd. Columbus, Ohio 43209 Philadelphia, Pennsylvania Edmondton, AB T5B 4E4 (614)235-4136 . Canada [email protected]

VOLUME FORTY-TWO ss NUMBER EIGHT CHORAL JOURNAL MARCH 2002

78()/479-93Q4(Yoice) call Peg for registration info Seventh AlUlUal Summer Conference .. 780/474.:1933 (fax) 952/933-7307 (voice) Penn State· University .. [email protected] State College, Pennsylvania www.aabaca.com . . Clinicians: Rodney Eichenberger • August 14 - 16 Jean Ashworth Bartle -Kim Nazarian • School for Handbell Choir Directors Juan Tony Guzm·n·· Lynne Gackle Lakeside, Ohio August 15 - 17 ACDA Summer Workshop 0; David Dietz Faculty: Paul Colloton • University ofPortland 15 Hillside Rd. Jean McLaughlin Portland, Oregon Middletown, PA 17057 717/944":5980 (voice) National Association of Musicians Clinician: Donald Brinegar 717/512-1472 (voice) 225 Sheridan St., NW Washington, DC 20011 Sandra Brown Williams ' .-"'_~_.L..:-__-'-'--_-'-- _____ 202/723-5800 (voice) 5411683-8132 202/723-2262 (fax) August 16 - 18 Cantor Express . Michael Sagun Holyoke, Massachusetts Sheet Music Service 503/222-9607 Faculty: Melanie Coddington • August 15- 16 Carol S. Grady (Detroit) • Joe Simmons PrmtMusic!·.& Friends Wo,rkshop (except Detroit) MBACA .. Minnetonka, Minnesota August 15...;.17 National Association of Musicians Pennsylvania ACDA

Haydn's UCreation rr at Dallas' Morton H. Meyerson Symphony Center

Work with world-renowned clinician Dr.

Sponsored by: Brookhaven Community Donald Neuen and enjoy three concert College and venues: a patriotic concert and fireworks Brookhaven Choral Society. display on the 4th, a concert on the 5th Center For the Arts Is funded in part by a grant from the City featuring all participating choirs, and a matinee of Farmers Branch and grants from The Town of concert on the 6th at the Addison and The City of Carrollton. Meyerson Symphony Center in Dallas.

Brookhaven College Is accredited by tha Send us an audition tape, CD, or video. Commission on Colleges of Call us at 972-242-0865, email us at: the Southern Association of info@dallaschoral fireworks.org, go to our website: Collagas and Schools (1866 or Southern Lane, Decatur, Georgia www.dallaschoralfireworks.org for additional information. 30033-4097: Phone 404-6794501) to award the associate degree. Chorus limited to 6 adult choirs, (240 singers) by audition only.

VOLUME FORTY-TWO NUMBER EIGHT S6 MARCH 2002 CHORAL JOURNAL

225 Sheridan St., NW 972/271-1521, ext: 233 (voice) Washington, DC 20011 . 972/840-3113 (fax) 202/723-5800 (voice) <[email protected]> 202/723-2262 (fax) <[email protected]> <.www.npm.org> INTERNATIONAL

August 20 - 21 March 24-28 Cantor Express 7th Concorso Corale Internazionale Detroit, Michigan Riva del Garda, Italy

Faculty: Melanie Coddington • Ellison Tours Carol S. Grady (Detroit) 0 Joe Simmons 311 Main Street (except Detroit) Exeter, ON NOM IS7 Canada National Association of Musicians 800/265-7022 (voice) 225 Sheridan St., NW 519/235-2000 (voice) Washington, DC 200 11 519/235-2061 (fax) 202/723-5800 (voice) <[email protected]> 202/723-2262 (fax) <[email protected]> <.www.npm.org> April 3 -7 International Choir Days 'JIerona, Italy September 13 -15 NextDirection: The National rum Pritchard Conference for High School Students Music Contact International Considering Careers in Choral Music . 119 S. Winooski Ave. Milwaukee, Wisconsin Burlington, VT 05401 800/624-0166 (voice) Clinicians: Doreen Rao • Richard Bjella 802/862-2200 (voice) • Randy Swiggum • Beverly Taylor 802/862-2251 (fax) <[email protected]> Marcia Russell <.www.music-contact.com> NextDirection Chair 160 Stonebridge Rd., #307 Platteville, WI 53818 608/348-9838 <[email protected]> <.www.ensemble.org> (link to NextDirection)

A repository of historical material related September 27 - 28 to the 70-year career of Choristers Guild Regional Directors' Fred Waring and the Workshop Pennsylvanian!;; Providence United,Methodist Church Resources, for the choral director! Charlotte, North Carolina music educator and student. Includes recordings and 9000 titles Clinician: Shirley McRae of sheet music and arrangements VISIT OUR WEBSITE! Emily Everett www.libraries.psu.edu/crsweb/speccoVwaring/ Choristers Guild Fred Waring's America The Pennsylvania State University 2834 W. Kingsley Rd. 313 Pattee Library University Park, PA 16802 Garland, TX 75041 (814) 863-2911 FAX (814) 863-5318 e-mail: [email protected]

VOLUME FORTY-TWO NUMBER EIGHT 57 CHORAL JOURNAL MARCH 2002

April 3 -7 'May6-10 Calgary, Canada 4th International Choir Festival "Isola del Sole" May 13 -17 Ellison Tours Grado, Itary 311 Main Street May21-24 Exeter, ON NOM IS7 Ellison Tours Canada, 311 Main Street May 27 -31 800/265-7022 (voice) Exeter, ON NOM IS7 5191235-2000 (voice) Canada June 6-7 519/235-2061 (fax) 800/265-7022 (voice) 519/235-2000 (voice) June 17 - 18 519/235-2061 (fax) June 24-27 May 16-2.0 4th International Robert Schumann Workshops with the Vienna Boys' Choir Choir Competition April 11 ~. 15 Palais Augarten Zwickau, Germany Int~rnational Choral Mnsic Festival Vienna, Austria de Cuba Ellison Tours Havana, Cuba Clinicians: Singers and staffof the 311 Main Street Vienna Boys' Choir Exeter, ON NOM IS7 Paige' Betten Canada Music Contad International Haring KEG 8001265-7022 (voice) 119 S.WinodskiAve. Michael Haring 5191235-2000 (voice) Burlington, VT 05401 Gruenentorgasse 10/7 5191235-2061 (fax) 800/624-0166 (voice) A-I090 Vienna 802/862-2200 (voice) Austria 802/862-2251 (fax) 0114366418111.80 (voice) <:[email protected]> 011 43 1 3175460 (fax) June 18 - July 9 . Harlaxton Festival Grantham, England

Clinicians: Joseph Hopkins­ May 15 .;...19 Johnny ML. Poon MusicFest 2002 Johnny M.L. Poon 1800 Lincoln Ave. The University of Miami Evansville, IN 47722 Choral Conducting for the 21st Century 812/479-2754 (voice)

CHORAL STUDIES June 15 - 21 Come for an exciting week of choral music, Rodney Eichenberger learning, and sharing ideas with soine of Professor of Choral Music, Florida Fifth Annual British American Church America's leading teacher-musicians. Classes State University. Music Festival Master Teacher for the week-long run from 10:30a.m. - 5:30 p.m. daily, with class and Conductor for the Directors' Edinburgh, Scotland; Canterbury and evening rehearsals from 7:30-9:30 p.m. There is Chorus and Friday evening concert. also opportunity to observe the University's London, UK 30th Annual Summer Choral Camp for high Mark Aliapou/ios Professor of Voice, school and middle school musicians. A final University of Miami; Clinician: David Flood • concert, with guest conductor Rodney Church Musician Eichenberger, will be held Friday evening, June "Vocal Techniques for Choral Singers" Michael O'Neal 21, in conjunction with the Choral Camp. Join us for a comprehensive choral experience! Dr. Jo-Michael Scheibe British European Specialty Tours Housing and meal plan available.Call the University of Director of Choral Studies, University of P.O. Box 78193 Miami; Miami, Choral Studies Office for more information Church Musician Indianapolis, IN 46278 (305) 284-4162 FAX: (305) 284-4839 Email:choralmusic@miamLedu rhe University School of Music has been an accredited institutional member of the National Association of Schools of Music since 1939.

VOLUME FORTY-TWO 58 NUMBER EIGHT MARCH 2002 CHORAL JOURNAL

June 22 -:- 28 June 27 -July 1 , Third Annual. British American· High International Music Festival • School Choral Festival Salzburg, Austria York and London, UK June 28-30 Ilka Pritchard, World Choral Festival Vienna Clinician: Philip Moore Music Contact International • Vienna, Austria 119 S; Winooski Ave .• British European Specialty Tours Burlington, VT 05401 Headliner: Vienna Boyl Choir . P.O. Box 78193 800/624-0166 (voice) Indianapolis, IN 46278 802/862-2200 (voice) Haring KEG , 802/862-2251 (fax) Attn: Michael Haring : Gruenentorgasse 10/7

June 23 -30 Bermuda Cruise Choral Festival Onboard the Norwegian Majesty; Ber­ muda Clinician: Eph Ehly

British European Specialty Tours P.O. Box 78193 Mark your calendar & Indianapolis, IN 46278 sing this summer!

Concordia I....cllle~E!e. Mr\t,\,·h.,:iil'l •• M June 27 - July 1 Festival Internazionale di Musica The fifth annual Rene Clausen Choral School builds on the success and Genoa, Italy feedback of 310 participants from 41 states and 3 Canadian provinces. The Choral School is designed for church, high school, community and college choir conductors and nearly equal quantities of each attend. Rachel Digiammarino ' Music Contact International The school offers the choral conductor the opportunity to learn 119S. Winooski Ave. while rehearsing with Dr. Clausen. In addition, participants receive a practical course of Intensive study concerning rehearsal and conducting Burlington, VT 05401 technique, score study, style, interpretation, performance practice 800/624-0166 (voice) issues, fundamentals of choral ensemble and literature. Participants 802/862-2200 (voice) consistently comment on the supportive learning environment and 802/862-2251 (fax) inspiration they receive during the school. Read more online. , Anton Armstrong, conductor of the St. Olaf Choir, will present topics • ranging from 'The African-American Spiritual: History and Performance" to "Creating An Expressive Choral Ensemble: Practical Thoughts and Techniques" to a reading session of new music appropriate for children June 27 - July 1 through adult singers. International Choral Festival Complete'I'':;f;:;;;;;:';;':I;;. ;;';;';;li;;;C::;;7::::::'S Tuscany, Italy www.renecla'

Michelle Scott "The Choral School helped reawaken some of my sleeping passion for the Music Contact International choral art. I'm excited to go back to my position, raise the bar and make 119 S. Winooski Ave. vital music with my students." Burlington, VT 05401 Steve Deitz 800/624-0166 (voice) jefferson Senior High School, Alexandria, Minnesota 802/862-2200 (voice) june Rauschnabel "Rene Qausen is not only amazingly tolented - he's truly a generous, humble 802/862-2251 (fax) Scholarship teacher - a 'johnny Appleseed" encouraging us all to be the same." info on our Shelly Andes website! Sandia High School, Albuquerque, New MexiCO

. - info"@re'ne"c"lausen.com' . -Gcill tog,a,! (218) 486-5601 _~ ,0' _, ~ , " r

VOLUME FORTY-TWO 59 NUMBER EIGHT CHORAL JOURNAL MARCH 2002

A-I090 Vienna 2627377-7062 Stavangei;. Norway Austria 011 43664 18 111 80 (voice) Clinicians: RodneyEichenberger e ' 011 43 1 3175460 (fax) specialguests World. [email protected] July 6 - 9 Tori Hintz st 31 International Youth & Music Festival 187 Aqua View Dr. "Youth & Music in Vienna" Cedarburg, WI 53012 July 6 - 9 Vienna, Austria . 262/377-7062 (voice) International Choral· Conducting . Workshop Association of International Stavanger,Norway Cultural Exchange Michael Haring Clin.ician.: Rodney Eichenberger C/o Wiener Symphoniker July 9 -14 Lehargasse lllII Llangollen International Musical Tori Hintz A-I060 Vienna Eisteddfod InternationalWorkshop~ .... Austria Llangollen, W'llies 187 Aqua View Dr~.;: 011 43664 1800905 (voice) Cedarburg, WI .53012 011 43 13175460 (fax) Adjudicators: Ralph Allwood • Norbert Balatsch • Elinor Bennett • Michel Camatte • Conan Castle • Maria Guinand· Jean Stanley-Jones· Simon Lovell-Jones July6-19 International Choral Conducting. Mrs. Eulanwy Davies Workshop.,. Royal International Pavilion

ALICE PARKER and William Cutter, Artistic Director TH.E MELODIOUS ACCORD INSTITUTE Distinguished Faculty annonnce Neil Donohoe, Three Programs of Interest to Musical Theater/Operetta Scenes Choral Mnsicians Mary Saunders, voice Faculty subject to change Fellowship IT May 14-23, 2002 · . . .for mid-career professionals, a time to July 14-July 20 meet, discuss their work, re-examine basics, re-define priorities, and become re-invigorated - -in-searching-fof'1:heirown,elationship-to-the- --­ melodic arts. Limited to 8.

Fellowship IT June 10-16, 2002 · . . .an in-depth study of Song Leading, including intensive melodic analysis, repertoire, planning SINGS, and practical experience in THE BOSTON CONSERVATORY MUSIC DIVISION leading small and large groups. Limited to 12.

Composers Worl\shopOctober 19-23, 2002 · . . :an opportunity to discuss choral composition and arranging with Alice Parker s er'02 and colleagues. Each composer may present at least two works; discussion will be wide­ ranging over theory, style, performance, Institute publication, and related topics. Limited to 8.

For more information and an application for Summer Choral Institute '02 For further information, fees and registration, www.bostonconservatory.edu Summer Choral Institute '02 (617) 912-9166 Ages 15 and over contact Kay Holt at [email protected]; phone 413-536-1753. Consult our website at The Boston Conservatory 8 The Fenway Boston, Massachusetts 02215 lVww.lIlelollioIlSQCCortl.ol'g.

VOLUME FORTY-TWO NUMBER EIGHT 60 MARCH 2002 CHORAL JOURNAL

Abbey Road August 10 - 17 Llangollen Hereford International Summer School Denbighshire LL20 8SW Royal National College UK Hereford, Herefordshire, England ARTS BUREAU 011 44 1978 862003 (voice) FOR. THE • Bavaria Int'I Youth Music Festival, July 18-25, '02, July '03 Port Hope, ON LlA 1N9 ,2nd Choir Olympics l7~ BANDS, ORCHESTRAS -!llat. March 2003 Busan,Korea ""TeJlF.'v:-1· D b1' lId . , . f(.:l,il;:.l1' U1111,lmllll Ellison Tours 311 Main Street TORONTO INTERNATIONAL July 21 - August 20 CHORAL FESTIVAL Exeter, ON NOM.1S7 April 23-27, 2003 & Siena Session for Music the Arts Canada Guest Couductor: Slepbll1 Hatfield Siena, Italy 800/265-7022' (voice) 519/235-2000 (voice) CANADIAN TULIP MUSIC FESTIVAL· Ottawa Clinicians: Joseph Del Principe • 519/235-2061 (fax) (International Choirs, Bands, & Oochestras) May 9-12 or 18-20, 2002, May 2003 Tiziana Carrara • Giordano Giustarini 2002 Couductor: Slepbm Hatfield CANTERBURY (UK) INTERNATIONAL EYRl@ @R@IN GOWNS ' CHORAL FESTIVAL July 30 -August 5 July 10-14,2002' July 9-13, 2003 Sixth Annual International "Professionally tailored 2002 Couduclor: Bob Cbilcott Children's Choir Festival gowns of lasting beauty." i. Canterbury and London, UK FREE Contact: Lois Harper, BA, M.Ed, ARCT Clinicians: Henry Leek. ~ David Flood catalog and Arts Bureau for the Continents fabric samples. 350 Sparks Street - Suite 207 A British European Specialty Tours LYRIC Ottawa, Ontario, Canada, K1 R7S8 P.O. Box 78193 CHam GOWN co. Phone: 1-800-267-8526 Indianapolis, IN 46278 P.O. Box 16954-AZ Fax: 1-613-236-2636 Jacksonville, FL 32245 E·mail: [email protected] CALL TOLL FREE 1-800-847-7977 www.abc.ca www.lyricrobes.com

VOLUME FORTY-TWO NUMBER EIGHT 61 THEU SCHOOL OF yresents THE MICHIGAN CHORAL WORKS OP JULY 8-12, 2002 • ANN ARBOR, MI Choral Clinic Sessions Presented by

Jerry Blackstone Sandra Snow Director of Choirs Choral Music Education University of Michigan University of Michigan Conducting Masterclasses and Special Sessions on: Score Study______, __ Techniques for the Solo / Choral Singer International Phonetic Alphabet and Its Use for Conductors New Repertoire for All Levels

Graduate Credit Available For more information and to register: www.umich.edu/summer

Corporate Sponsors: Musical Resources of Toledo, OH; Santa Barbara Music Publishing; Boosey & Hawkes; Holiday Inn North Campus; Microtel Inn & Suites

, - Graduate Programs in Conducting at the LJntversiiy of Michigan were rated first in the nation __ -. - in the most recent W.E;. News and World Report ranking. . , ..- -.' - MARCH 2002 CHORAL JOURNAL

RESEARCH REpORT Lawrence Schenbeck, editor

Chant Home Page at . repertoire, different performance styles, .T HE continuing popularity of This site, also maintained by the indefati­ and prominent performers. A shorter list Gregorian chant recordings (see gable Professor Jeffery, includes links to of recommended recordings can be found just about any Billboard chart chant research sites, medieval music­ at

VOLUME FORTY-TWO NUMBER EIGHT 63 CHORAL JOURNAL MARCH 2002

funding from the Dom Mocquereau Website at . Basic information on nota­ tional funding each year since for the ac­ Musikwissenschaft/index.htm>. From tion and performance, news of concerts, quisition of new films. The availability of there, link to the "Cantus-planus Archive" instruction, and new or foundational pub­ so many soilrces in a single archive enor­ and choose either English or German. lications, and helpful background articles mously facilitates research comparing This site offers a comprehensive chant bib­ on the history of Latin and English chant. chant repertories or the readings ofa chant liography, current to the end of 2000. It For those who wish to dig deeper-much as they appear in multiple sources. can be downloaded in several formats or deeper-Roland Jackson's Performance The Study Group "Cantus Planus" of read online. (Warning: even with a fast Practice Encyclopedia site includes a list the International Musicological Society, connection, it takes a while to load into of chant articles, books and treatises (pri­ which encourages electronic exchanges of your browser, but downloading it as a mary sources) sorted by general topic, information like the Mocquereau compressed file is quick and easy. Its with links to full citations of each source. Collection's online catalog, has its own WordPerfect 6 version uses ~pecial charac­ For some reason, this page caO't be readily ters for Central European languages; other accessed from PPE's "front porch," but available file formats replace those charac­ try going directly to ~~~~h-~ {.. '}\<1k!lirs \, Jeffery's Re-envisioning Past Musical Cul- _-,,--,)i,.,j::k:cd~~~~:jj¥;XtlD'tJnoi~\~~£~\ f \>':'~"\ \ ~;:;~r;::n~:a~;c(~fIc::o/t. S:;~ht r<:'::_,j;_'~;:"C');?"';.,. ',';";';;")\\ 1,\ "i:\1 \ \1\ J \ \, I cago, 1992; paper 1995). It maybe briefly 12:~'.!~:-J': ~N;1'aili!~yenue:~Si:dD.W:; ,~ pe& ~ >...... \ _._~~\ I described as "an exploration of the re- <~~"~~~;W4-,-jf~~';i,fi~r"';;]~on.Jl ..l': :~~~ ,,,,,ch mcrhodoIogi" milahI, fm tho t~~~=~:'~~~;;;-:':~~~t;:L~Wd;bh~:~~K£iibi~~~;!!Q)~~:I If JU ~~::u~~~~:; c~~~ :~ ~::~ ~:; in future chant research." As such, Jeffery's Contact: Patrick Raney study would seem to epitomize the Zeit- -800-9 -397 geist; a number oflate-twentieth-century 1 22 6 performers and scholars have been struck WORLD PROJECTS INTERNATIONAL MUSIC PRODUCTIONS by the ways in which Gregorian chant ICST: 2025574-401 resembles follc music. Both are rooted in Visit us on the Web: www.wpintl.comoraltradition.bothcometousfrom.asit were, foreign lands-the medieval pa~t

VOLUME FORTY-TWO NUMBER EIGHT 64 MARCH 2002 CHORAL JOURNAL being as much another culture as Aachen, 1050-1350 (Ph.D., U. of Chi­ from Juhasevyc's irmoloji in their liturgi­ Uzbekistan's-and both stand for "all that cago, 1998), focuses on ceremonial chant cal context.5 is oldest, most primitive, and elemental composed for a single distinguished Next time: individual articles on per­ in Western music." Yet the title ofJefferis church, the Marienkirche at Aachen, formance practice and other topics, im­ book is misleading. Ofits 211 pages, only which was endowed with the tomb of portant collections, and mUSIC sixty-seven are devoted to proposals for Charlemagne, the throne of the Germanic anthologies. bringing ethnomusicological methods and realm, and a sumptuous collection of rel­ materials to the study of chant; the very ics. In particular, McGrade is concerned NOTES brevity of this section virtually assures with how the chant repertoire served im­ 1 Cardine, "Mocquereau, Andre," in The New that much of its content may appear su­ mediate political needs by promoting Grove Dictionary ofMusic and Musicians perficial or vague. Much more of the book royal ideals and enriching the history of (London: Macmillan, 1980), 375-6. As is given over to a rather narrowly based the basilica, an emphatic symbol of we shall see, this viewpoint, at least in its critique of the work of two older scholars, Carolingian power. He investigates corre­ purest form, came under serious attack both of whom helped lay the ground­ spondences between chant texts, legal in the late twentieth century. work for what Jeffery is now proposing.3 documents, chronicles, and other writ­ 2 "both for those ...": Hiley, vii; review by Not surprisingly, one of those scholars ings in order to recover the tracery of Cecile E. Hanson in ChoralJournal35/1 has published a blistering thirty-five-page allusion and reference that formed the (Aug. 1994):66-67. review of Re-envisioning, calling the book "wishful histories" of the realm. 3 "an exploration ...": anonymous abstract "tendentious, confused, and shallow" and Thomas D. Kozachek ranges further provided by online RlLM for Re-envi­ criticizing the author, his editors, their afield in The Repertory ofChant for Dedi­ sioning; "all that is oldest . . .": abstract publisher, and even the book's appear­ cating Churches in the Middle Ages: Music, by Gary W. Mayhood for yet another ance. It has been received more gener­ Liturgy, and Ritual (Ph.D., Harvard U., entry in online RlLM for Re-envisioning! ously in other quarters. In any case, the 1995). His dissertation investigates musi­ 4" ten d'"entlous, etc.: reVIew. bLy eo T'lrelt er years since its publication have seen a cal aspects of pontifical liturgy and be­ as "Sinners and Singers: A Morality rising number of studies that combine gins, for one rite, to define the scope of Tale," in Journal ofthe American Musico­ the disciplines of musicology and diversity reflected in the sources. The ear­ logical Association 4711 (Spring ethnomusicology in one way or another liest layer of chant for this rite was codi­ 1994):137-171; cf. inter alia generally to shed new light on this oldest of West­ fied during the Carolingian period. This favorable reviews by Edward Nowacki in ern devotional musics.4 repertory was modified and enlarged as Notes. Quarterly Journal of the Music Li­ One recent dissertation that ap­ ordines for regional variants of the rite brary Association 50/3 (Mar. 1994):913- proaches the frontiers outlined in Re-en­ came into contact with one another. Thus, 17, and by Richard Widdess in Music & visioning is Rosemary Dubowchik's A these manuscripts also inform our under­ Letters75/1 (Feb. 1994):58-60. Nowacki Chant for Feasts ofthe Holy Cross in Jerusa­ standing of regional chant styles and the is a chant scholar, Widdess an lem, Byzantium, and Medieval Europe transmission of relatively rare melodies. ethnomusicologist. (Ph.D., Princeton U., 1993). In it, she The dedication rites of France, Spain, and 5 Dissertation summaries adapted from au­ examines the Latin antiphon Crucem tuam England are examined in turn. thors' abstracts. adoramus domine, long recognized as a Specifically, ethnic traditions .are ex~ borrowing from the Greek church. Sev­ plored in Lenora J. c. DeCarlo's A Study -CJ- eral studies have examined its relation­ ofthe Carpatho-Rusyn Chant Tradition in ship with one or the other of two the Late Eighteenth Century: The Manu­ Byzantine liturgical texts. This study is script Irmoloji ofIoann Juhasevyc (Ph.D., the first to consider five distinct Latin The Florida State u., 1998). Two manu­ recensions, the historical development of script chant anthologies (irmolojt) copied the Greek texts cited as models, and re­ by the Carpatho-Rusyn scribe Ioann lated chants in Georgian, Armenian, Syr­ Juhasevyc Sldjarsky (I714-1814)-the ian, Coptic, and Ethiopian sources that first from Prikra, in the Presov region, the expand the historical, liturgical, and mu­ second from Nevyc'ke, in Subcarpathian sical scope of the tradition. Chapter five Rus'-show distinctive characteristics of also attempts to reconstruct the oral tra­ the Carpatho-Rusyn chant tradition when dition of Crucem tuam. compared with the earliest Galician Other recent dissertations also suggest printed edition (Lviv, 1709). They make various ways in which chant studies can it clear that local usage was an important be brought to focus on cultural, cross­ influence and consideration for Juhasevyc cultural, or specifically ethnic behaviors as a professional scribe. The tumultuous in historical context. Michael McGrade's political and religious history of Affirmations of Royalty: Liturgical Music Carpathian Rus' forms the general back­ in the Collegiate Church of St. Mary in ground for a specific study of the chants

VOLUME FORTY-TWO NUMBER EIGHT 6S ummer ortt

June 24-28 July 8-12 July 15-19 Edward Bolkovac: Advanced Stuart Younse and Edward Stuart Younse: Vocal Choral Conducting for the Bolkovac: Choral Techniques Pedagogy for the Secondary High School Director for the Classroom Teacher Choral Teacher

For more information: Contact Hartt Summerterm • The Hartt School. University of Hartford • 200 Bloomfield Ave. • West Hartford, CT 06117-1599 1.800.955.HART or 860.768.5020 • [email protected]

For additional information on these and many other exciting summer core course offerings, faculty bios, housing and registra­ tion information, check out Hartt's Web site atwww.hartford.edu/hartt MARCH 2002 CHORAL JOURNAL

REPERTOIRE & STANDARDS COMMITTEE REpORTS

views excellence as "the best you are ca­ Travis is talking about music specifically, Boychoirs pable of generating. When I can't push this broad approach fits in well with the any farther, I tal

VOLUME FORTY-TWO 67 NUMBER EIGHT CHORAL JOURNAL MARCH 2002

includes as tools of musical excellence excellence in their own individual ways. Nancy Plum, Eastern Division Chair singing the right notes, adhering to all All choristers are also seeking musical ex­ Committee on Boychoirs written musical direction, and looking for cellence, but they may not know how to the inner beauty and essence, phrasing communicate their ideas and frustrations and harmony, that will make the piece to the choir director. ACDA meetings Junior High/Middle more alive for the performer and the lis­ and conferences bring all of us together tener. to try and identifY all the elements of School Choirs All conductors, ranging from elemen­ musical excellence and develop vocabu­ lary we can all use to communicate to our tary school teachers to conductors of the A Choral Rationale for world's leading orchestras, seek musical singers and make our performances memorable for our listeners. Training Pubescent Boys in a Single Gender Environment APPLICATIONS ARE now being accepted for the full­ ENDER separation in the jun­ MANAGING DIRECTOR. time, salaried position of Managing Director of the TUCSON GIRLS- ©HOR.US. Tucson Girls Choruses beginning July 1, 2002. Benefits ior high/middle school vocal Tucson, Arizona ._ included. This internationally recognized choral program G music program has been dis­ is preparing for a new level of growth in addition to its cussed for many years. Often times sched­ already established reputation as a premier music education and performance organization. The TGC currently works with 240 singers in four choirs, in uling problems interfere with the concept, addition to holding a Summer Fine Arts Program for the community, a summer Music Camp for singers, but with positive requests and informa­ and an Internship Program in connection with the University of Arizona School of Music. Duties of the tion to counselors and administrators, this Managing Director will include. fiscal management and development, grant writing, corporate sponsorship, marketing, large project management, and oversight of office staff. The Managing Director will work problem can be solved. Separating the closely with the Artistic Director in planning and implementing a long-range community and artistic sexes is a guarantee for getting more boys vision. . into the choral program. CANDIDATES should have a minimum of 5 years of managementlfinancial experience, preferably in the It is a fact that pubescent boys have arts, grant writing and/or corporate funding experience, strong interpersonal skills, and a strong commitment to the development of the art for youth. Submit cover letter and resume along with three letters of vastly different vocal problems from pu­ recommendation and two letters of character reference whom we may contact to: Tucson Girls Chorus, bescent girls, and those problems need to Artn.: Executive Committee, 4020 E. River Road, Tucson, AZ 85718. www.Tucsongirlschorus.org. be addressed separately without fear of embarrassment. It is imperative that the boys feel as if they are in a safe environ­ ment where all students share the same The Women's Choms of Dallas, a renowned lOa-member ~ocal problems. Additionally, they can be introduced to masculine choral and solo nonprofit community choms, is seeking an Artistic Director. Now literature. As a result of this process, they in its 13th season, TWCD performs a varied repertoire in three are not as afraid of failure as they are in season subscription concerts and multiple guest appearances. THE the presence of females. Realistically, girls, at this age, are both THE IDEAL CANDIDATE WILL POSSESS WOMEN'S physically and emotionally far beyond the Masters Degree (or Bachelors w/five years experience); Strong CHORUS boys. Feelings of inadequacy and insecu- vocal pedagogy skills; Strong leadership & communication skills; . ·th th . I I f al . . . .. nty WI elr own eve s 0 voc ,emo- ~·-·~--I---Var:u:td-programmmg-mterests-Nonprofit.5ectOl:.&-marketmgL--OF-..-.DALLAS----rional,and-physical-maturation-virtually~-- development skills a plus! Copies of prior peliormance playbills IS TAKING disappear with the absence of the girls. and rehearsalJpeliol1nance videotapes are appredated. Positive factors that result in the train- A NEW ing of young males in this manner in­ TWCD. OFFERS clude: establishing a healthy form of Competitive benefits package; Administrative Staff DIRECTION competition between the boys and girls & additional Artistic Support Staff; opportunities to record, classes; fewer discipline problems when tour and collaborate with other arts organizatiOns. the other sex is not present, therefore eliminating the "flirt factor"; can coin­ SEND ALL MATERIALS BY APRIL 15 TO cide with single gender physical educa­ TWCD Search Committee I [email protected] tion or other athletic classes; and training 3630 Harry Hines Blvcd. #210 I Dallas, TX 75219 techniques designed specifically for the TWeD does not discriminate on the basis oj race, color, national male or female can be implemented. The origin, gender, disabililJ, age or sexual O1ientatiol1. most positive aspect of training boys with FOR INFORMATION ON UPCOMING EVENTS OR TO LISTEN TO lIIomml's [horus their m.ale peers is that the boys with RECORDING SELECTIONS: www.twcd.org If lULU unchanged and changing voices will be able to see and hear the natural progres­ sion of the male voice through examples

VOLUME FORTY-TWO NUMBER EIGHT 68 MARCH 2002 _.,..-____C..".H ..... O...... RAL JOURNAL set by those voices that have already Please afford us the opportunities we seek changed, therefore allowing their peers to to offer quality music education to the guide them through the changing process students who pass through our programs and toward vocal success. and our lives. We depend upon our ad­ The selection of choral music for this ministrators, our board members, the par­ age boy or girl is much less challenging ents of our students, and the communities when pursuing single gender pieces that we live in to provide the forums we need are designed to fit specific needs. For ex­ to make outstanding choral programs out ample with the unchanged, changing, and of mediocre ones. Training the genders changed boys voice, many composers and separately is one vehicle we can use to publishers have begun writing and pub­ accomplish our goals. lishing outstanding literature with spe­ Nancy Cox, National Chair cific problems in mind. Consider the Committee on Junior High/Middle number of problems that need to be ad­ School Choirs dressed with mixed gender music. Is there danger when a boy's voice is forced to -C]- TRINITY sing a part that is not in the appropriate range and could possibly damage the vo­ LUTHERAN cal mechanism? Are you willing to tal{e that chance? SEMINARY If inadequate teaching techniques are Columbus, Ohio correlated with music that is inappropri­ ate for the changing boys voice, perma­ CHORALWEB nent damage can be done to that delicate, PUBLISHING INC. Master of Arts in ever-changing vocal apparatus. AB choral htfp:/twww.ChoralWeb.cam Church Music teachers were are expected to deal knowl­ TolIFree: 877·WEB·MUSIC or 480·836·3431 edgeably with the voices we train. Once Have you visited our website lately? Comprehensive musical the damage is done, it can never be un­ liturgical and theological done. Choral, Handbell, Keyboard, Solo Vocal Music preparation for careers To your administrators and school and the Children'S Corner Press boards this message should be presented: in church music We also sell the "Black Folder", we are teachers who care about our pro­ Check our website for pictures and pnces, grams, our students, and good singing. Summer Music Courses 2002 19th and 20th jillIe 10-14 (I-week course) INTERNATIONAL CHORAL COMPETITION • Perspectives in Choral Conducting "FRANZ SCHUBERT" • The Christmas Experience VIENNA, 14-17 NOVEMBER, 2002 jillIe 17-21 (I-week course) VIENNA, 13-16 NOVEMBER, 2003 • Builcling Parish Music Programs For mixed, female and male choirs with compulsory and optional program. • Music Technology jillIe 24-28 (I-week course) ORGANIZER: • Handbells Schubert-Gesellschaft Wien-Lichtental • Mrican-American Music & In cooperation with "ADM-BLAGUSS" Austria Destination Management Worship jillIe 10-28 (3-week course) ARTISTIC MANAGEMENT: • Liturgical Choir Prof. Friedrich Lessky

Details now also on the internet: www.schubertchoralfestival.at For more information, contact: Pro£ May Schwarz We would be happy to see US choirs participating. Director, Master of Arts in ..JL Chu~ch Music Detailed program and conditions available at: Trinity Lutheran Seminary 2199 East Main Street ADM-BLAGUSS Columbus, Ohio 43209 SchleifmOhlgasse 1/14, A-1040 Vienna (614)235-4136 Tel. +43/1/58539390, Fax +43/1/585393939, e-mail: [email protected] [email protected]

VOLUME FORTY-TWO 69 NUMBER EIGHT THE SYNT AGMA MUSICUM

OF MICHAEL PR.AETORJUS Volume Three

An Annotated Translation

TItANSLA TED BY HANS LAMPL Translated by· Volume Three An Annotated ritihs Lampl EDITED BY Translation b Eaited}.i;:;·".'· y MAftGAftET BOUDftEAUX .JYt:Wgaret Boudreaux To Order, Contact: i~13N 1-8826>~;~;~~0-2 'ACDA . (softcover) .;~M;~;:';::\ 279 pp. 20(}1 .. , .. AMER.lCAN CHORAL DIRECTORS ASSOCIATION

ACDA $30 MONOGRAPH NO 10 A~?' : 2001 MARCH 2002 CHORAL JOURNAL

BOOI( REVIEWS Stephen Town, editor

Boden, Anthony Thomas Gambier Parry (1816-88), the The Parrys ofthe Golden Tille composer's father, Clinton Parry (1840- London, England: Thames Publishing, 83), the composer's brother, and Ernest 1998.250 pp. No ISBN (Cloth). Gambier-Parry (1853-1936), the [To order, write to Thames Publishing, composer's half brother (Thomas Gam­ 14 Barlby Road, London W10 6AR or bier Parry's second family adopted the fax on 0181-969-1465]. hyphenated surname of "Gambier-Parry" to distinguish it from the first family), to The name of Sir Charles Hubert name a few, deposited in the archives of Hastings Parry (1848-1918) dominates the British Library (India Office Records); the English music of the late nineteenth in Highnam (the Parry home), located century. His positions as a teacher (from near Gloucester; and, in Shulbrede Priory, 1883) and as the Director (from 1894) at located in Sussex, the home of his daugh­ the Royal College of Music insured that ter Dorothea and her husband, Arthur he held an almost unassailable historical Ponsonby, where Parry spent much of his position through the achievement of his later life. Some of the diverse secondary rat Journal, 11/96: 69), which was also gifted pupils, among whom numbered sources cited are: Thomas Fenton's A His­ consulted by Boden; Ernest Gambier­ Vaughan Williams, Holst, and Howells. tory and Guide to the Church of the Holy Parry's Annals ofan Eton House, published Indeed, his influence upon them was pro­ Innocents, Highnam, Gloucestershire, con­ in 1907; and, Boden's own Three Choirs: found and indelible. His scholarly articles cerning the nineteenth-century church A History ofthe Festival, about the annual for the first volume of Grove's Dictionary that Gambier Parry had constructed in meetings of the choirs of Gloucester, of Music and Musicians were to the musi­ memory of his first wife (the most com­ Hereford and Worcester.. cal world influential beyond measure. In plete Victorian gothic church in England Parry's great grandfather and grandfa­ them, he explained the formal and tech­ according to John Betjeman); Charles ther were Directors of the East India Com­ nical aspects of music with rare clarity Graves's Hubert Parry, the two-volume bi­ pany. Through ·these positions they were. and accessibility. His compositional ex­ ography (published in 1926) that for able to establish the immense private periments in the instrumental and choral many years was the only definitive study wealth that gave Parry's father the inde­ genres, especially the festival cantatas that until the release (in 1992) of Jeremy pendence to pursue his interests and the combined texts by different authors with Dibble's exhaustive C Hubert H Parry: means to purchase his family house at those of his own inspiration, were of su­ His Life and Music (reviewed in the Cho- Highnam Court, where our composer preme importance. There can be no doubt of the close relationship between these cantatas and the anthology choral pieces of the next generation. Thus, Hubert Parry's place in music history as one of the pivotal figures in the renaissance of English music is based on his brilliant didacticism, scholarly writing, and com­ position, and his example was the model on which subsequent composers patterned their lives. The Parrys of the Golden Tille by Anthony Boden is not about Parry III ACTIVEWEAR COMFORT only but also about the family that pro­ II CARE FREE MAINTENANCE duced this great composer. IIIUNCOMPROMISED QUALITY To write his remarkable book about this extraordinary family, Boden consulted ..r;fI"!et,(C¥!Cf!r" .. a number of rich sources: the letters, dia­ , '.' J ' __ ' - '_, . '," ries, and memoranda of Thomas Parry 3 17 .255.25~3 (1732-1816), the composer's great grand­ ·(888) 760]469 father and creator of the family fortune, E-MA.IL:[email protected]::i:',,' ...:..LIU"fuL~.-.c'I. .. ".,.;• .'.

VOLUME FORTY-TWO NUMBER EIGHT 71 CHORAL JOURNAL MARCH 2002 enjoyed the privileged environment that that he made it as a composer on his own lead to the composition, between 1898 stimulated his creative impulses. Parry's merits and hard work, and that he re­ and 1908, of six works that he termed father was an extraordinary man: among belled against his father's inherited reli- "Ethical Cantatas." Boden's brief com­ '. other things, he was a collector of Italian glOn. ments (and I emphasize the word brief, paintings, an arboriculturalist, a philan­ Parry has been labeled a reluctant ag­ for this is not a book that centers on thropist, a painter (it was he who com­ nostic and, yet, his spiritual position is analyses of the music) on these works are pleted the Nave Ceiling in Ely Cathedral!), explained precisely in a letter to his father superb, as are those on the six valedictory a composer, and an ecclesiologist. Obvi­ that is published here for the first time Songs of Farewell. To paraphrase the au­ ously, Parry inherited his father's incred­ (see p. 157). In spite of his rejection of thor: parry gave expression in the Songs of ible industry and stamina, for he, too, religious orthodoxy he recognized that Farewell to his profound inner loneliness, became a Victorian polymath pursuing a ordered civilization was entirely depen­ and to a faith which was both unortho­ multiplicity of professional and re.cre­ dent upon an ethical framework, and he dox and unswerving, "at a time when he ational labors. (The story of Parry the recognized the vital necessity for a spiri­ was demoralized by the First World War, yachtsman is fascinating.) tual dimension in the life of man. To that wearied by the capriciousness of his wife, Parry was indebted to his father in end, Parry spent his existence living out strained by tensions at the Royal College many ways, not the least of which was in this well-examined conviction, and no of Music, deeply disappointed by the musical sphere. It was Gambier Parry finer comment on his life may be found Macmillan's refusal to publish his book who, as a member of the Three Choirs than Arthur Ponsonby's biographical sum­ Instinct and Character, and increasingly Festival Committee at Gloucester, clearly mary (see p. 226). troubled by deteriorating health" (p. 224). helped to pave the way for one of his son's In the music of his final years, one can As intimated above, not all was golden compositions to be heard in 1868 at this hear Parry's sincerity and the struggle, in the life of one of England's greatest festival, one of the most prestigious in both technical and spiritual, in which he composers. Parry's marriage was an un­ Victorian England. If Parry was an in­ was engaged. His search for a successor to happy one because his wife did not un­ heritor of his father's drive and profited the oratorio through which to express his derstand music and did not share his from his father's influence, it is also true philosophical and artistic ideals was to passion for it. His brother Clinton was a

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VOLUME FORTY-TWO NUMBER EIGHT 72 MARCH 2002 CHORAL JOURNAL ruined alcoholic who had to be institu­ Perhaps it is unnecessary to mention, diate Neighbours," "London and the tionalized and, therefore, a drain on the but the work is not a history of music in Provinces," "Education and Scholarship," hearts, minds, and resources of the fam­ England but a history of English music and "English Music." ily. Parry's struggle for acceptance as a (rather than "British" music). The term As its subtitle intimates, the last sec­ composer among the aristocracy was ar­ "English" in the title signifies that the tion investigates the issue of Englishness duous; however, it was his accomplish­ author is delimiting his discussion to those in music. Caldwell writes: "It is certainly ments and successes that proved"it was aspects of music that embody an English clear that one cannot seriously maintain possible to be taken seriously as a com­ element or to the country of England; the idea of national characteristics of style poser, to earn money from his art, and yet thus, Scottish, Irish, and Welsh compos­ over a long period of profound changes. to continue to enjoy the reputation of a ers are treated in the narrative only if they It may, however, be possible to pursue the gentleman. For the first time in class­ became English by adoption. question in terms of a characteristic re­ conscious Victorian society, the role of Though the method of presentation is sponse to circumstances, even at the risk professional composer was seen as socially similar in both volumes, I will restrict my of malung generalizations open to various acceptable" (p. 190). His radical beliefs brief comments to the second one be­ lunds of objection" (p. 553). I shall leave and pronounced political views were un­ cause of its more recent publication date. it to the interested reader to explore acceptable to many of his station and, The first four chapters ("Handel and His Caldwell's explication. sadly, caused some of his distress. English Contemporaries, c. 1715-c. The Oiford History ofEnglish Music, in All of these topics-genealogical, bio­ 1760," "The Later Eighteenth and Early two volumes, exhibits an encyclopedic graphical, and musical-are cleverly wo­ Nineteenth Centuries, 1760-1815," completeness, despite the humble claims ven into a narrative that is highly "From the Later Georgian to the Mid­ of Caldwell, who. has accomplished the engaging. If one is interested in this pe­ Victorian Age," and "Later Victorian disciplined study for its o~n sake of En­ riod of music history, The Parrys of the Music and the 'English Renaissance', glish music in its historical, analytical, Golden Vide by Anthony Boden must be 1870-1914") are subdivided by genre. In and philosophical aspects. For those in­ examined, for it contains information that chapter five ("Post-Romanticism, 1914- terested in this area of research, the vol­ cannot be found in any other source. 1945"), when the importance of genre umes will become the doorways to Stephen Town begins to fade, the author provides vi­ Department ofMusic gnettes of individual composers. In chap­ Northwest Missouri State University ters six and seven ("Tradition and 800 University Drive Avant-Garde, 1945-1975" and "Modern­ Maryville, MO 64468 ism· and Postmodernism, 1976-1997"), the contributions of individual compos­ ers comprise the foundation of the dis­ cussion. Chapter eight is a treatment of Caldwell, John folk and popular music (so titled, "Folk The Oxford History ofEnglish Music, Vol­ Music and Popular Music"), and chapter Koda Iy Certification Program ume I: From the Beginnings to c. 1715 nine ("England and Its Music") is a con­ July 13 . July 26, 2002: Levell (of three) Oxford, England: Clarendon Press, 1991. clusion and summary. July t- July 26,2002: Levell! 691 pp. ISBN: 0-19-816129-9 (Cloth) The latter chapters of the second vol­ Loyola College in Maryland (Baltimore, MO) ume (i.e. some of four, all of five and six) A.K.I. Faculty: Caldwell, John are the most arresting and satisfYing­ Amy Branum Huggins, Betty Bertaux, The Oxford History ofEnglish Music, Vol­ chapter four is an exceptional treatment Director Assistant Director ume IL' From c. 1715 to the Present Day of an exceptional topic-though that as­ Laurdella Foulkes-Levy Robbin Schaffer

Oxford, England: Oxford University sessment may reflect my own enthusi­ Private Instruction in Voice and Conducting Press, 1999. 612 pp. $135. ISBN: 0-19- asms abour the specific composers of a may be arranged. Graduate, Inservice and 816288-X (Cloth) specific period of time. The concluding Certification Credit are available. subsections of several chapters offer inter­ The A.K.I. curriculum follows O.A.K.E. guidelines for Kodaly certification programs. Admiration and respect are two words esting subject matter to research further: that may be applied to John Caldwell, "Musical Thought and Scholarship" of For More Information: Reader in Music, Oxford University, and chapters one and three, "Writings on The American Kodflly Institute Senior Research Fellow of Jesus College, Music" of chapter two, "Musical Litera­ 100 East Pennsylvania Ave., Suite 202 Towson, MD 21286 Oxford, who completed the magnificent ture and Education" of chapter four, and Phone: (410) 494-1480 • Fax: (410) 494-4673 two-volume work, The Oiford History of "Writing and Scholarship" of chapter five. E-mail: [email protected] English Music. In an authoritative yet in­ The final chapter aptly explains and justi­ Website: www.ccmsings.org viting prose, Professor Caldwell illumi­ fies the author's rationale of the treatment nates the text, context, and subtext of in the two volumes as a whole, in sections English music over an astonishingly wide subtitled "English Music and the Euro­ chronological range. pean Context," "England and its Imme-

VOLUME FORTY-TWO NUMBER EIGHT 73 CHORAL JOURNAL MARCH 2002

innumerable paths of fascinating investi- Grainger," "The Shock of the New: Bliss, Commonwealth, the colonial empire, or gation. Walton, Lambert, Berners, Warlock, India. Whatever word we use lands us in Stephen Town Moeran," "Traditions-New and Old: a tangle." Department ofMusic Gurney, Howells, Bush, Rubbra, Finzi, Therefore, the "English Musical Re­ Northwest Missouri State University .Orr," and "Rebels and Heirs:· Tippett, naissance" is a specific designation given 800 University Drive Britten." A postscript, bibliography, and to the appearance of composers who in a Maryville, MO 64468 index complete the contents of the vol­ wide variety of ways were malcing music ume. which was substantially different from When speaking of the "English Musi­ both the English music that had gone cal Renaissance," scholars have found it before and the contemporary music of Trend, Michael necessary to comment upon the fact that the rest of the Continent. Their inspira­ The Music Makers:The English Musical this musical period consisted of two sig­ tion came from English literature, from Renaissance from Elgar to Britten nificant forces: "Music, made in England" their sense of the English countryside, New York: Schirmer Books, and "English music." It is important to and from their increased knowledge and 1985.268pp.ISBN: 0-02-873090-9 note that Trend's book is a consideration love of English music from earlier periods (Cloth). of the latter. Moreover, it has become of history. Trend agrees with most histori­ necessary for scholars to define the term ans that the beginning of the period may Trend's book presents a thumbnail "English," or rather, how the term is em­ be traced to Hubert Parry and the 1880 sketch of the English composers born be­ ployed, for some writers have viewed the performance of his cantata, Scenes from tween 1857 (Elgar) and 1913 (Britten). word in nationalistic or chauvinistic terms. Prometheus Unbound He believes that the Thus, he does not write i~ any technical As Trend correctly writes: "Such a view first few years after the Second World detail about the works of the composers; must, however, be resisted from a histori­ War mark its conclusion. "The dropping rather, he presents the context in which cal perspective. The rediscovery of much of the term 'English musical renaissance; they lived and worked and touches upon English music of earlier periods, a vitally and its associated imagery at this time their lives and the character of their mu­ important element in the revival, was al­ showed that contemporaries felt that a sic. There are no musical quotations or most exclusively an English Concern" (p. period of musical history should be con­ references to passages in specific pieces; xvii) . Indeed, when a specific term is sidered to have come to an end" (p. 2). In instead, his approach is a literary one. sought to define the particular character the final analysis, the demarcation of this The outline of his book is as follows. of the music of the period it should al­ remarkable historical period is less im­ There is an introductory chapter that in­ ways be "English" rather than "British." portant than the elements and the com­ vestigates the English musical renaissance Another author, A. J. P. Taylor, has posers who animated it, and the author in general; "here the emphasis is on the illustrated precisely the semantic confu­ does an admirable job in summarizing elements of continuity rather than those sion associated with the word. In the pref­ both. of change" (p. xvi). Thereafter, the com­ ace to his 1965 volume, English History The Music Makers by Michael Trend is posers are discussed in nine chapters: "The 1914-45, he writes: "When the Oxford not intended for the research specialist English Environment: Elgar, Delius," History ofEngland was launched a genera­ but for the general reader. It is free from "Traditions-Old and New: Hurlstone, tion ago, 'England' was still an technical jargon and easy to read, but it Coleridge-Taylor, Boughton, Holbrooke," all-embracing word. It meant indiscrimi­ uses eloquent language and, obviously, "Shifting Horizons: Bantock, Brian, nately England and Wales; Great Britain; the author loves his subject. Along with Davies, Smyth," "Heirs and Rebels: the United Kingdom; and even the Brit­ The Englfih MusicalRenaissance by Franl{--­ Vaughan Williams, Holst, Butterworth," ish Empire. Foreigners used it as the name Howes (Secker & Warburg, 1966), this "Holding the Middle Ground: Bax, Ire­ of a Great Power and indeed continue to volume makes a good introduction to the land, Bridge," "The Frankfurt Gang: do so .... Now terms have become more period under consideration. Gardiner, O'Neill, Quilter, Scott, rigorous. The use of 'England' except for Stephen Town a geographic area bri~gs protest, espe­ Department ofMusic cially from the Scotch. They seek to im­ Northwest Missouri State University Music Manager pose 'Britain' -the name of a Roman 800 University Drive Software 4.0TM province which perished in the fifth cen­ Maryville, MO 64468 tury and which included none of Scot­ -C]- Cross-platform ... Mac or Windows land nor, indeed, all of England. I never use this incorrect term .... 'Great Brit­ Get information and demos at ain' is correct and has been since 1707. It www.musicmanager.com is not, however, synonymous with the Toll Free (800) 282-9220 United Kingdom, as the Scotch, forget­ ting the Irish (or, since 1922, the North­ also available for church musicians ... ern Irish), seem to think. Again, the WorshipManager"" United Kingdom does not cover the

VOLUME FORTY-TWO NUMBER EIGHT 74 MARCH 2002 CHORAL JOURNAL

CHORAL REVIEWS Richard Nance, editor

Unison/Two-part treble

Art Thou Troubled <"" /"/ George Frideric Handel ;JA!£r'~a/~uj)li~hihg. C:~~pany, Hal Leonard Publishing Jean Ashworth Bartle, ed. ::>ffic. c .. ;;//; " . ,;/..... " 'G.I.A.Public~tions . Corporation Unison, keyboard or strings /pp.st,.Office. Box.1 0003·7404 South Mason AVenue P:O, Bdx 13189 Hit;lshaw, HMC1431, $1.10 ;:y,rnt;i?h9~9}4'10 " (;:hicago,IL60638 . Milwaukee, WI 53213 ;';Allian~~;Mu;iCPubiicati(ms/' GlocySound' '. "Na;i~riiI Music Publishers Handel's Art Thou Troubled is one of ;~:O;Box BI97!,:, ~hawp~ePress, Inc., agent 16605 Townhouse Drive ";:.H6~st6~::iX '/7219 . Post Office Box 690 Tustin, CA 92680 those pieces that every young singer :>/:;';;;;.::;./;\;;/; '",;;DelawareWater Gap, PA 18327 should learn to sing. The text extols the ;;;1\ug~h~g.Fortres5publisl1e[s '.' Ox:ford Uu'iversity i>r~ss, Inc. many values of music. The singable 'P;OiBox1209 Hinshaw Music, Inc. 198 Madison Avenue' . melody and the piece itself allow many resst. '. namic changes, word and melodic ac­ . "(',<>'/'/' :/~ 'Car;;1 Str~~m, IL60188 •. develop musicianship. The vocal range of GarlIh~che!'Inc: . the composition is from d to F. Most of /6SCBleekerSt:···, .' ·'Neil·A.KjosMusic Company the piece lies within the best for ·Ne*:York;N':Y, r0012 4380. Jutlahd Drive tessitura . San Diego,CA 92117 the young singer and encourages their >¢~t~;sPub!ishmg: '. . best singing. >:tyfu~ic;al;ll!!soiir<:es,agel}~ '. This piece should be in the repertoire '.2020N;HdlhindSyIVitiiiaRoad ;Tol~~o,OH 4~6i5 of every children's choir. The editor sug­ gests the possibility of string accompani­ ment. Parts are available from the -e- publisher and would certainly enhance ~): I. ., the performance of this composition. VOCAL RANGES , Carolee R. Curright -e- C c cI c2 University ofNebraska School ofMusic '/'"'' Lincoln, NE 68588-0100

Grandfather's Clock The piece begins in the key of A, with is heard over an ominous-sounding key­ Henry Hinnant, arr. piano imitating the chiming clock while board figure. It modulates back to A ma­ Two-part treble, piano singers "tick" and "born." Stanza one be­ jor and the piece ends, but not before we Hinshaw, H7MC-1843, $1.50 gins in unison and ends with the melody experience a few changes in meter and sung over a minor-third ostinato. The tempo. You will love the "grand pause" at Down a major third, up a major sec­ accompaniment is chordal and supports the beginning of the last line. ond, down a perfect fifth: you've heard the voices well. The clock chime becomes that motive countless times in your life, a vocal ostinato as the second stanza be­ especially if you are old enough to have gins; the melody is tossed between parts Kapellmeister Choir Stools grown up in a house where there were as a brief relatively static line and the ./ Custom Designed & Built such things as mechanical clocks that had previously mentioned minor-thirdBgure Choir Stools to be wound! For those that happen to be are sung against it. The accompaniment chronologically challenged and are not for this stanza is our familiar chime mo­ familiar with it, the motive will be firmly tive played with eighth notes in the right implanted in your mind when you finish hand and quarter notes in the left. The performing Henry Hinnant's positively third stanza employs two points ofimita­ delightful arrangement of Grandfather's tion and ends with the melody sung over Clock, a song written by Henry Work the minor third 'tick-tock" pattern. The Kapellmeister Enterprises, Inc. and originally published in 1876. unison fourth verse begins in minor and 59932 Tamarack Or.• St. Helens, Oregon 97051-(503) 397~4773

VOLUME FORTY-TWO NUMBER EIGHT 7S CHORAL JOURNAL MARCH 2002

Both vocal parts will use all of their clamor, a roar and a shout, through the 2 Two-part, keyboard, opt. flute and per­ range between c!P and e . With so many CUSSIOn whole of the night well struggle about." sections that contrast a repeated or static Carl Fischer, CM8597, $1.40 repeats after each new part of the story. figure against the melody, this is an ideal The piece ends with the hero high on a piece to use when children have had a The Hero and the Dragon is a delight­ hill standing in "the way a true hero little experience in part singing and need ful setting of a story about a dragon that should." more reinforcement. people feared and a "brave young knight" The melodic content is rhythmic and The piano part is technically not diffi­ who volunteered to "battle the beast." A singable. The setting in the key ofF places cult, but mal(e sure your accompanist has mixolydian melody and a repetitious re­ the elementary singer in the most beauti­ nimble fingers! frain combine to tell the story. Th<:: me­ ful part of their voice. The range and jed David "Wtztson lodic content begins in unison with the tessitura is well suited to the elementary Christ Community Church second part moving stepwise into har­ child. The melody occasionally reaches 225 E. Exchange St. mony after the first two phrases. The e~2 and there is one p., but those are Spring Lake, MI49456 harmony is well written and would be included as the piece reaches a climax. A easy to learn for young singers. Most creative teacher could make a wonderful phrases begin with both parts singing in presentation of this piece in concert. Any The Hero and the Dragon unison. The refrain, "with a clang and a text that tells a story appeals to °the young Steven Burnett singer. The piece has motion and energy

o to involve the singer in singing it again and again. THE BEST VALUE Carolee R. Curtright IN THE ORGAN WORLD University ofNebraska School ofMusic If you thought being on a budget meant having to accept Lincoln, NE 68588-0100 compromise, Allen has great news for you! Our Protege organs feature revolutionary Renaissance™ sound and are built with the high quality you'd expect from Allen. With a full range of models to choose from, there's sure to be a Protege in your budget. Two-part mixed/SAB

~Ut@® The Moon Was But A Chin of Gold 150 Locust Street P.O.Box 36 Macungie PA 18062-0036 USA Tom Shelton Tel: 610-966-2202 • Fax: 610-965-3098 Three-part mixed, piano, flute E-mail: [email protected] Hinshaw, HMC-1779, $1.50 CONTACT ALLEN TODAY FOR MORE INFORMATION OR VISIT AN ALLEN ORGAN REPRESENTATIVE NEAR YOU The Bee Tom Shelton Three-part mixed, piano

--I---+\:le-F-ourtn-Re.tr:eat-for:...Cnor:aLMusicEducati.on____ I __=----::::--;------:--;--:;-----;----::-----:---- at the Robert Allerton Conference Center Tom Shelton, a middle school music specialist and an excellent accompanist, University of Illinois at Urbana Champaign Monticello Illinois has created two wonderful pieces for May middle school singers. The Moon Was But A Chin of Gold and The Bee are settings Featu ri ng of Emily Dickinson texts. These pieces Keynote speakers: Henry Leek and Carroll Gonzo were originally written for the 2000 North Carolina Middle School All-State Active participation by collegiate conductors 0 Chorus. The voicing and the melodic

o choral methods instructors and graduate students writing exhibit the composer's familiarity Retreat Registration Contact with middle school singers and his skill in writing for voices and keyboard. Dr Joe Grant School of Music University of Illinois In The Moon Was But A Chin of Gold, W Nevada Urbana IL the range for soprano is dl to e2.When e2 j grant @uiuc edu is sung it is well prepared on an open 2 vowel.The range for alto is d to d • Altos The Allerton Retreat for Choral Music Education is jointly sponsored by The University of Illinois at Urbana Champaign The Pennsylvania State University have the opportunity to introduce the Eastman School of Music and Lebanon Valley College melody in the beginning of the piece.

VOLUME FORTY-TWO NUMBER EIGHT 76 MARCH 2002 CHORAL JOURNAL

The range for the third part (for boys) is dearing treatment of this earnest love first, along with a singable (if not literal) g to &1. There is occasional divisi writ­ poem has been a frequent feature of mad­ English translation. Directors will find ing for all voices, but often when that rigal groups and SATB choirs. Now the included pronunciation guide help­ happens the voices are terraced, entering younger choirs can experience the gentle ful for the French; however, those accus­ one after the other to build a chord. The beauty and sympathetic pairing of text tomed to using the International Phonetic text is charming and would be intriguing and music in this simplified version. Pre­ Alphabet will want to note carefully where for middle school singers. The melody sented in the key of EJ, major, the vocal the arranger's transcription method dif­ outlines three descending second-inver­ ranges are suitable for younger singers, fers from IPA. This arrangement also in­ sion chords that' move by whole steps with the third part (tenor/bass) range cludes a number of helpful editorial while the third part sings the root of the from f to dP. suggestions, including tempo indications, chord. The piece changes in meter from ~ The original French text is presented dynamics, and breath maries. A piano re- to ~ at measure fifteen, and again at m. 34, sometimes giving the feeling of ~ rather than ~. When the original melodic content is repeated the piece reverts to ~ meter. The addition of the flute adds interest to the piece as well as reinforcing voice parts The Bee includes much unison singing for all parts. Sopranos and altos intro­ duce the minor rhythmic melody that is soon repeated by the male voices. The B section is in three-part harmony with some occasional divisi. The voice parts are all quite accessible for middle school singers. Sopranos do ascend to g2 on three occasions, but these are well prepared and "'.:' : mJern,~~ ~. Ue€K .. part of the melodic line. The male voice , restivol hXrtistic D,ir~ctor range is from g to &1. Here also the & is part of the melodic line and should be well within the range of the young singer. Each time the A melody appears follow­ ing the initial statement, it is treated ca­ nonicallyand is followed by the B section in three-part harmony. Both pieces enhance the Dickinson texts and are excellent introductions to fine literature. These would be appropri­ ate for contest, festivals or to add interest and variety to any choral concert. Carolee R. Curtright ~_ , '.1 I ..,.,rillh",nc from Hawai'i University ofNebraska-Lincoln School ofMusic nn,H1dPn,"'itiir Rim Countries -.@) ..-- Pacific Rim Lincoln, NE 68588-0100 MUSIC RESOURCES Wanda Gereben, Executive Director Mon coeur se recommande vous Tel: (808) 595-0233 • Fax: (808) 595-5129 [email protected] Orlando di Lasso www.PacRimFestival.org Russell Robinson, arr. Three-part mixed Alfred, 20097, $1.50 www.alfredpub.com

This renaissance "chestnut," a time honored favorite in its original four-voice setting, receives a sensitive and effective reworking for three-voice mixed choir by arranger Russell Robinson. di Lasso's en-

VOLUME FORTY-TWO NUMBER EIGHT 77 CHORAL JOURNAL MARCH 2002 duction (for rehearsal only) is included as ear of a good singer and yet the piano to sit low for very young voices. The best well. Though without the comprehen­ accompaniment offers harmonic and feature of this arrangement is the harp sive depth of today's scholarly editions of rhythmic support. Each verse is set for accompaniment, which begins and ends renaissance works, this arrangement of either a solo or full section singing. There with harmonics. The harp provides an Mon coeur se recommande vous will make are two key changes; both are prepared almost ethereal effect that matches the an appealing and effective introduction logically and in unison. Helpful perfor­ fragility of the cherry blossoms described to the unique joys of madrigal singing for mance and teaching suggestions are found in the song. Piano can also be used for younger choirs. at the beginning of the piece. Berg has the accompaniment. Sakura opens and Eric Stark brought new life to an old favorite that closes with a repetition of the title word Butler University will find a place in church, concert and in the first alto part accompanied by hum­ 4603 Clarendon Road festival settings. ming in the other three voices. Neaum Indianapolis, IN 46208 Suzanne M Pence indicates that the whole piece should be The University ofTexas at Austin sung slowly and delicately, using little Austin, Texas 78729 vibrato. Pronunciation assistance of the SSAlSSAA Japanese text would have been helpful in this edition, but the phonetics are not I'm Going to Sing! Sakura too difficult to decipher. A few Japanese Ken Berg (arr.) Michael Neaum (arr.) words are required in some of the parts SSA, piano SSM, harp or piano even when the English text is used. Hal Leonard, 08551488, $1.40 Oxford, W122, $1.25 Sharon Davis Gratto www.halleonard.com www.oup.co.uk/music!choral Gettysburg College Department ofMusic Ken Berg's new arrangement of this Michael Neaum has a fine reputation Gettysburg, PA 17325-1486 traditional spiritual will be a valuable ad­ for writing excellent choral arrangements dition to a middle school or high school for women's voices. In this lovely and choral library. The rhythmic spirit and easy four-part arrangement of Sakura, o Sacrum Convivium gospel harmonies are not simplified, but Neaum has created a fresh look at this Don Michael Dicie are presented to ensure singer's success. favorite and well-known traditional Japa­ SSM unaccompanied Throughout the piece the middle part nese song. Neaum's own English text re­ Oxford, 94.400, $1.30 carries the melody, while the other parts flects well on the meaning of the original punctu.ate the harmony and rhythm. Part Japanese words, which ar~ also included. The essence of plainsong and mysti­ one has a fairly extended range (d to If) The arrangement could be used with cism wafts throughout this delightful 2 with the tessitura lying between c and f2. children's choir, although the many re­ Communion anthem. All four lines of Part three will appropriately challenge the peated b's in the alto part cause the part text are sung by unison voices in plain­ song. What happens next is magical, though-upper voices begin a slow, MONDAY, JULY !I!I - FRIDAY, JULY !l6, !lOO!l trance-like "alleluia" to a syncopated Historic St. Michaels, Maryland rhythm,. with ..consonant and dissonant charged with a slow-motion rendition of the plainsong melody under the gently moving "alleluia" of the sopranos. Ho­ mophony intervenes, after which upper voices talce over the plainsong melody. A climactic four-part, three-fold "alleluia!" leads to a final restatement of"O sacrum convivium," and the work ends in mys­ tery, two open fifths stacked on top of each other. With the sound of Messiaen's and Tallis's settings of this text in mind, one can easily become inured to yet another setting of an ancient song of adoration. When a fine new rendition does come along, it's worth singing over and over. That should be the fate of Dicie's setting, as it challenges on many levels. The choir

VOLUME FORTY-TWO 78 NUMBER EIGHT MARCH 2002 CHORAL JOURNAL must sing discordant intervals with the All Glory, Laud, and Honor comes into view, leading to the expected same ease they bring to consonance. Pas­ Joel Martinson, arr. fireworks of the final measures. sages of mixed meter assure rhythmic va­ SATB, congregation, trumpet, keyboard The keyboard part could be played on riety and flexibility of movement. A wide Oxford, 94.265, $2.50 the piano; it cries out for a pipe organ dynamic palette is required, thanks to www.oup-usa.org/musicl and its powerful sound. Martinson has fortissimo climaxes and pianissimo, satta made this anthem more accessible, how­ voce whispers of "alleluia." Textural vari­ Make no mistake-this is a proces­ ever, by writing only one brass part. The ety is assured through unison to four­ sional anthem of tremendous propor­ organ part could easily be transcribed for part voicing, and also through sprinkling tions, in high festive mode. The text is brass quintet, but more parishes will find of three-against-four rhythms. most appropriate for Palm Sunday, al­ this anthem within their reach if only A talented church choir will appreci­ though it would serve any feast day call­ one brass player is needed. ate this anthem, as it's not the usual "la­ ing for extra exuberance. A part for trumpet in C is dies of the choir" fare. So too will Variety resides in every verse, and the included (why no trumpet in B~?), and a advanced high school women's ensembles. whole is neatly packaged so that transi­ reproduceable congregational page is pro­ Jeffrey Carter tions work well and will not confuse the vided, complete with permission to pho­ School ofMusic congregation. Some festive anthems add tocopy. There is nothing earth shattering Ball State University the congregation at the last verse only, in this octavo, however, church choir di­ Muncie, IN 47305 the congregation plays a vital role here, rectors will appreciate its balance of forces, even from the opening words. Martinson ease of preparation, and pleasant chal­ often assigns the melody to the congrega­ lenges. SATB tion, while the choir sings an alternative Jeffrey Carter harmonization or a descant. Alternatively, School ofMusic 1 Hear Someone A-Comin' the trumpet plays an obbligato while the Ball State University Patti Drennan choral forces belt forth the melody. Muncie, IN 47305 SATB, keyboard, oboe One quieter moment occurs at stanza Glory-Sound (Shawnee, agent) A 7466, six as the choir sings of sorrow and Christ Has Arisen, Alleluia $1.50 passiontide. An alternative harmonization Hal H. Hopson, arr. is present, and the organ falls silent. Some SATB, piano, opt. congregation, Drennan has created a folksy ballad entrances are staggered, allowing for tex­ children's choir with freshness of rhythm and tune.It is tural variety. Only in this stanza is the Hope, C5167, $1.75 clearly in the fashionable "worship mu­ choral writing moderately challenging. sic" style, but displays creativity that sets After a triumphant "hosanna" closes out This Tanzanian tune easily waltzes it apart. Donald Kouri's text is an un­ the verse (~ alternating with ~-a wel­ along, joyful in text and melody, drawing usual approach to Palm Sunday-using come touch indeed!), the home stretch in the congregation. Children talcing the the image of the sound of the crowd as the theme for the "Hosanna" and then talcing that idea to Good Friday and ex­ tending it to the second coming of Christ. The men introduce the strophic tune Perfonn in the oldest theater and also carry it later in the piece. An , in the Americas, exquisite oboe countermelody provides a comment auditoriums, and splendid on the choral parts and forms the inter­ colonial era cathedrals, before ludes between stanzas until it finally joins immense, appreciative audiences, the enthusiastic ending. Guitar chords are included and even the keyboard part Ambassador Tours has the unique is a strumming quarter-note pattern with experience and knowledge to make occasional sixteenth-note licks. A com­ your concert tour in Brazil a reality. petent worship band will enjoy accom­ panying the voices. The parts are relatively easy, yet interesting to sing. A Contact us «i» forfurther church choir looking for a Palm Sunday details: selection in popular idiom will find this AMBASSADOR TOURS cheerful ballad lightweight, yet well writ- 148 East Michigan Avenue ten. ~lamazoo, MI 49007 Richard Stanislaw 1-800-247-7035 Waynesburg College E-mail: [email protected] http://www.ambassador-tours.com Waynesburg, PA 15370

VOLUME FORTY-TWO NUMBER EIGHT 79 CHORAL JOURNAL MARCH 2002

optional parts will sparkle; folk instru­ Cantus Quercus, CQ2002, $1.95 Baker University mental percussion (ad lib) will provide www.cantusquercus.com 618 Eighth Street even more zest. Baldwin City, KS 66006 Hopson, whose sure writing avoids These wonderful, brief pieces set to self-conscious complexity, has provided a texts by noted English poet Thomas most appropriate setting. Voice parts be­ Hardy will require an excellent choir for Hirtenchor gin in unison, break into two parts, fol­ the most pleasing rehearsal and perfor­ Franz Schubert lowed by unaccompanied SATB mance experience. The poems suggest the Robert Carl, arr. (although still not difficult). A middle irony between what is seen and thought, SATB, piano and clarinet section shifts from the "bm-chuck-chkuh" or, what is seen and what is ignored. The National, 260, $1.65 triple rhythm to cut time as the children nature of the poems may not translate (or a soloist) interject the story of the well to younger minds and voices. The This is a lovely setting of the empty tomb. In predictably traditional vocal writing also suggests mature voices "Shepherd's Chorus" from, Franz design, the opening refrain returns for in both dynamic scope and dissonant har- Schubert's music for Rosamunde. Schubert the conclusion. A congregational part is mony. These two elements combined wrote incidental music for the play in provided for insertion in the bulletin-a promise meaningful rehearsals and per- 1823. The production was short-lived, page that includes three extra stanzas for formance interest. but George Grove and Arthur Sullivan in use by the choir. The only difficult vocal range is in the England brought the music to publica­ Program this as participatory music, first tenor, which rises to bP briefly in tion. Robert Carl has arranged the cho­ suitable for an Easter worship service­ the first piece. The piano part in The Self- rus here for SATB voices, piano and providing the choir can enjoy folksy sim­ Unseeing fills the role of a light introduc- clarinet. plicity and convey that joy to the tion or a wistful punctuation to each The text, by Wilhelmine von ChEzy, congregation. phrase of poetry and is not harmonically is, a warm, rhymed expression of spring­ Richard Stanislaw supportive. Vocal lines in this piece are time in the meadows, and Schubert's Waynesburg College delivered mostly in paired voices and the music breathes this same warmth. The Waynesburg, PA 15370 choir offers full four-part homophony piano and clarinet obbligato provide a only at the final line of poetry, "Yet we contrasting lyrical element to the chorus' were looking away." ConverselY, Middle-' chordal and delicate homophonic chant­ Two Poems of Reminiscence by Thomas Age Enthusiasm is nearly completely fully ing of the poem. A singable English trans­ Hardy homophonic, and again, the piano part lation is provided, but the music matches 1. The Self Unseeing is more a separate voice than an accom- the rhythm of the German so closely that 2. Middle-Age E1J.thusiasm paniment. Ranges in this piece are mod- it would be highly recommended (one Lanny Pollet erate, and the polymetric rhythmic flow could imagine singing a Schubert art song SATB (div.), piano allows each phrase to spealc clearly. Inter- in English and losing much of the fla­ ested readers are directed to the above vor!). This piece would be an excellent Gladde Music Publicatiolls ' web site for sample pages on line. These introduction to the classical beauty of ------The Choral Music or Bradley Nelson - pieces will stand the rehearsal effort and early nineteenth-century Germanic mu­ * MUSIC FOR 2002 * will reward both sensitive singer and au- sic, and could demonstrate the link be- .. ~------View-ever-y-octavo-online!-­ -dience':-.---- ______tweeD-Mozaris_v:ocaLwriting_and_the. __ _ www.GladdeMusic.coml4music.htm John Buehler Romantic outpourings from this musi- - liVE, STREAMING RECORDINGS- cally prolific part of the world. George S. T. Chu The Oratorio Society ofMinnesota Hamline University HEARFoNESTM St. Paul MN 55104

because great singing a God Who Gives Us Life and Breath should be Paul Lisicky SATB, keyboard, trumpet fun! GIA, G-4483, $1.20 Why settle for ordinary? ,Paul Lisicky has composed a straight­ Go for the Gold! ' just $29 ,forward hymn tune for Carl Daw's wide­ (less in quantity) ranging text of faith. Most of the choral www.hearfones.com N EXT E P 888-886-9312 . setting is unison; one stanza (it is stro- Visit our Website and see wiry others are listening

VOLUME FORTY-TWO NUMBER EIGHT 80 MARCH 2002 CHORAL JOURNAL

phic) is two-part (men/women) and a Richard Stanislaw ductor considerable latitude in interpre­ short section is in four parts. The tune, Waynesburg College tation, especially as to when the piano named Overland (a reference to the Waynesburg, PA 15370 enters and when, if ever, to swing the theme of the words), is obviously in­ eighth notes. The ranges in all four voice tended for congregational use. The trum­ Lord, I Know I've Been Changed parts are so conservative as to be easy, pet announces it, a soloist sings it, and Bruce More and Jim Regin allowing the choir to focus on more im­ the choir decorates it. Within a few weeks SATE, piano portant issues of style. the congregation will sing it well. Santa Barbara, SBMP 335, $1.50 Jonathan B. Hall The text is a fresh expression of confi­ The Church ofthe Epiphany dence in God's leading. Daw draws upon For the gospel-challenged classical 1393 York Ave. Old Testament covenant images of the church musician like myself, arrange­ New York, NY 1 0021 "cloud and flame," and convincingly calls ments like this can be a real pleasure. The God's people to respond by not "wander­ piano part is idiomatic, thick, and satis­ ing through wastes." The thoughtful fYing; the choral parts feature plenty of Fairest Lord Jesus words are dressed in a tune that lies pri­ the blue notes so characteristic of this Charles Forsberg, arr. marily in the key of F Major (it moves important, historic choral style. There are SATB & keyboard briefly into B~ minor in the middle of detailed written notes on the correct per­ Augsburg Fortress, 11-10835, $1.30 the tune). Although the four-part section formance of words in dialect; and the is harder than it needs to be, and the piece is organized around a refrain ("De This three-stanza arrangement is not trumpet part (in G) may have some op­ angels in de hebben done signed my of the more traditional melody with portunity for error if not played by a name") that will be accessible to choirs of which most of us are familiar, but rather competent player, the piece works as a all kinds. This piece might be especially of a melody that the arranger notes is simple church choir anthem. Even more, suitable for an ensemble that wants, or from the Munster Gesangbuch of 1677. . it effectively serves to introduce a strong needs, an introduction to gospel music . The arrangement begins with a keyboard new hymn text and tune. The performance notes also give the con- introduction that leads us to an opening

VOLUME FORTY-TWO 81 NUMBER EIGHT CHORAL JOURNAL MARCH 2002

unison statement of the chorale melody, to all church choirs of modest means and some hymnals, but Powell's arrangement sung by the women. Brief keyboard in­ those that are more advanced in ability is particularly suitable for use as an an­ terludes link the next two verses, which and number of singers. them. The introduction and interlude are are set homophonically in as many as six Ray Sprague stylistically reminiscent ofparry's, and will parts. The piece ends with a brief quota­ Department ofMusic meet a congregation's expectation of hear­ tion from the opening keyboard intro­ Davidson College ing interludes, as these are normally duction. PO Box 358 present in the hymnal settings. Their style One way the arranger maintains in­ Davidson, NC 28036-0358 is of the noble and stirring variety. Powell's terest is by changing the accompaniment harmonization is effective and well con­ for each stanza, and the accompaniment, trasted; the men begin in unison, the while not spare, compliments the voices o Day ofPeace second stanza begins in two-part texture. while allowing the parts to sing unen­ C.H.H. Parry Elsewhere there is well crafted four-part cumbered by a preponderance of dou­ Robert]. Powell, arr. writing. The piece ends effectively on a bling. The harmonization and choral SATB, organ relatively quiet note. Less experienced ten­ textures are also varied from stanza to Concordia, 98-3565, $1.25 ors and basses will need to pract~ce their stanza, and the shift from E minor to the contrapuntal accompaniment to the start darker key of G minor between stanzas Carl P. Daw's wonderful text dates of the second verse, not to mention their one and two is a nice touch. The voice from 1982.----:the year that the movie unison tuning at the outset! A more ex­ parts are very accessible, with only a few Chariots ofFire brought the tune "]erusa,­ perienced ensemble will find no diffi­ splits in the men and women, and very lem" enormous popularity in the United culty with this piece. 0 Day ofPeace is an reasonable tessituras and ranges for all States. It has been especially welcome to easy-to-moderate anthem for general use. parts. While some dissonances are intro­ Americans, who love this tune but are Jonathan B. Hall duced during the second and third verses, not sure what to make of "dark Satanic The Church ofthe Epiphany they are both easily approached and re­ mills" and "England's pleasant pastures," 1393 York Ave. solved, with vocally sensitive voice lead­ at least in a service of worship. New York, NY 1 0021 ing. This anthem is highly recommended A setting of this hymn is available in Two Carols Randall Giles SATB ARTISTIC DIRECTOR POSITION ANNOUNCED Paraclete, PPM00025, $2.10 1. Jesu, Fili virginis Outstanding l8-year children's multi-choir organization in 2. Jesu, Save us all by thy virtue suburban Chicagoland area seeking FULL-TIME ARTISTIC DIRECTOR. Naperville is rated a top U.S. city. The term "carol" has come to refer to music intended for the Christmas sea- Candidates will possess a Bachelor's in Music/Music Ed; Master's son, but this was not the original mean- preferred. The Artistic Director will exhibit superior skills in choral ing of the word. It originally referred to a conducting, and performance and extensive knowledge of medieval dance with musical accompani­ ____I .... r.-"

VOLUME FORTY-TWO 82 NUMBER EIGHT MARCH 2002 CHORAL JOURNAL by thy virtue (1994), takes its text from a Arroz con Leche The Winds ofAutumn manuscript found in the British Library. Carlos Guastavino David Lantz III The refrain in this work is brief while the SATB SATB, piano, flute stanzas retell the story of Christ's birth, Kjos, 8910, $1.50 Hal Leonard, 08742771, $1.40 death, and resurrection. The harmonic language of the first Tenor voices open the fugue of Arroz The Winds of Autumn is an ethereal carol, though modern, has touches of con Leche [Sweet rice with mille], imi­ and entrancing piece, which depicts the modality that enhance the text and spirit tated in turn by altos, sopranos, and basses gradual fading of summer into fall. The of the piece. The second carol employs in Bh major. After the exposition, the text by John Parker is colorful and de­ more dissonance, intense use of cross­ fugue is abandoned in favor of imitative scriptive, well suited to David Lantz's ex­ relations, and occasional division of the counterpoint, yielding eventually to a cli­ pressive treatment. Vocal lines are smooth soprano part. The rhythm of the second mactic homophonic section. The melody and accessible, and the mid-range place­ carol, like the harmony, offers more chal­ is based on an Argentinean round for ment will not stress voices. Chromati­ lenges to the choir. Giles employs fre­ children, but Guastavino gives it a rather cism is minimal and programmatic, quent hemiola, half note triplets, and intricate treatment that would require a fitting sensibly with the unusual har­ numerous meter changes. Both carols chorus of confident ability to handle the monic progressions (A minor to FM7 is a tastefully limit the dynamic ranges, due text at a rather sprightly clip (J = 104), as particular favorite). Perhaps the most in­ in part to the nature of their texts. The well as the polyphonic independence of teresting feature of the piece is the irregu­ upper vocal ranges present no challenge, each voice. There are also some moder­ lar phrase structure (e.g., the first period but the basses need to go as low as EI> in ately chromatic harmonies and intervals. is 4 +5+2) as the poetry is matched to the first piece. However, the work could Both a translation and pronunciation corresponding musical sections. Lantz be transposed up as much as one whole­ guide are provided. does not shy away from three- and five­ step to facilitate the range. The text spealcs of wanting to marry a measure units, and the text "nature stir­ Steven Young little lady from San Nicolas. "Sweet rice ring and creating" could be a commentary Bridgewater State College and mille" seems to refer to the bliss that upon the composer's free treatment of Bridgewater, MA 02325 would ensue from the marriage, and it text and musical phrasing. Interestingly, captures the flavor of this children's round the sectional structure of the piece is quite Estrellita del Sur in a concert setting with considerable asymmetrical-even returning sections Felipe Coronet Rueda challenge for performance. that retain similar harmonic progression Enrique Iturriaga, arr. George S. T. Chu are varied in their length. Of special in­ SATB The Oratorio Society ofMinnesota terest is the piano accompaniment of con­ Kjos, 8900, $1.30 Hamline University tinuous eighth notes and the moderately Saint Paul, MN 55104 demanding flute part that help us envi­ Estrellita del Sur [Little Star from the sion the gently blowing winds which South] is a Peruvian waltz telling a simple story of love. The soprano part carries the lilting melody, while the other voices MUSIC With MUSIC LESSONS IT your provide occasional counterpoint. It is a LESSONS II students will learn to: relaxed, folk-like setting in C major with • NAME chords they see in all keys, no dynamic markings, and quite unpre­ clefs, qualities, inversions, and open or tentious in its portrayal of how the poet is sustained by the memory of his be­ closed voicings; loved. • WRITE chords on the music staff, This would be a good introductory using the program's drawing tools; piece for a middle school chorus to the • PLAY chords on the built in piano Latin American choral series published keyboard and guitar fretboard (or MIDI); by Kjos. The arranger introduces some chromatic interest and rhythmic inde­ • HEAR and identify chords in the ear pendence in each part. The notes provide training drills. Windows/Macintosh CD·ROM a translation as well as a guide for Span­ ish pronunciation. 'The software is effortless to manage, easy to l1umipulate,jlexible e/wugh for multiple ages George S. T. Chu and skill levels, and meets the highest standards ofmusical content.. .Its exceptional high The Oratorio Society ofMinnesota quality and attention to detail make this a must-have ... The customization options make it a Hamline University peifect fit in any program." American Music Teacher Magazine, June/July 2001 Saint Paul, MN 55104 www.mibac.com ,lIlT MiBAC Music Software [email protected] ~ (800)645-3945 Call now for a FREE DEMO CD-ROM

NUMBER EIGHT VOLUME FORTY-TWO 83 CHORAL JOURNAL MARCH 2002

usher in this beautiful change of season. soloist begins her tale. She explains that that her parents insisted she dance with This worthwhile piece should be within the greatest joy for any girl of that area is men of finer reputation (i.e. doctors, mer­ the grasp of most high school choirs. sharing a dance with a log driver, a man chants, lawyers). She obliged their re­ Dale Rieth who moves timber down the river with quest, but found that none of that sort Indian River Community College the logs themselves as his transportation, could whisk her around the dance floor Fort Pierce, FL . spinning or rolling them through the wa­ like a log driver. AB the chorus enters the ter. The nimbleness he requires to avoid refrain this time, the soloist launches into The Log Driver's Waltz taking a spill translates well to his ability her pyrotechnic display of upper register Wade Hemsworth as a dancer. The text of the refrain pro­ coloratura, not long melismas, but agile Ron Smail (arr.) claims, "For he goes birling (spinning the staccati and triplet turns above the staff, S solo, SATB log) down a down. white water, that's punctuated with several sustained pitches Cypress Publishing (Musical Resources, where the log driver learns to step lightly." (d3!). agent) CP1029, $1.40 In the second stanza, the soloist tells of The dynamics drops to piano for the her visits to the riverside to watch the fourth stanza, in which the soprano con­ If you have a prima donna with a solid young men at work. Now the chorus firms her experience with men of all types upper register and some agility, here is a takes up the refrain text while the soloist and her desire to wed a log driver. A fun piece to program. The chorus acts as is tacet. The harmonic writing, though choral crescendo carries us again into the a brass band (oom-pah-pah) providing primarily diatonic, is spiced with chro­ refrain, this time with the soloist joining the accompaniment for the virtuoso solo matic passing tones and inflections sure the chorus sopranos. The repeat of the that may remind some of "Mein Herr to challenge any chorus member. In ad­ refrain brings another opportunity for the Marquis" from Die Fledermaus. Like that dition to tuning these short-lived harmo­ diva to show her wares. A short codetta aria, this piece is set in G major, with a nies, careful balancing of the voices would by the "choral band" brings the work to a lilting Viennese waltz tempo. Smail's ar­ be required to achieve a satisfYing sonor­ close, with the soloist supplying a vocal­ rangement begins with an eight-measure ity. ized sigh of pleasure (glissando) at the last "choral" introduction before the soprano In the third stanza, the soloist explains chord. Although the. soloist PlUst have com­ mand of a considerable range (d-d3), there ((~ NEW;YORK THE STEINHARDT are no extremes of range or tessitura for a chorus of mature voices. The piece could - T lIN I'VE RS ITY SCHOOL OF EDUCATION even be programmed for a good high school choir and guest soloist. The basses should have a solid G to balance the Kodsly 2002 other voices. Chorus sopranos and altos are also frequently divided into three Kodaly Summer Certification Program parts, but the middle part lies well within 14th Year of Kodaly Studies at New York University the compass of both voice types. Editor's note: this piece is also avail- Program Founded 1989 able for women's voices in an arrange- ---,___ --'-'.ndorsed_bJLthLQrganization_ojAmexican_KoddIV'_Ed:UCALO

VOLUME FORTY-TWO NUMBER EIGHT 84 MARCH 2002 CHORAL JOURNAL rhyme, "This old man, set in thirds. Department ofMusic arrangements of four- or five-voice masses The excitement comes to a slow halt at Davidson College or motets. Unfortunately, these directors mid-point where the text "Bake me a PO Box 358 soon discover that many of the reduced cake" is set homophonically with simple Davidson, NC 28036-0358 arrangements are unsatisfactory due to harmony. This short section leads to a omitted entrances in the polyphonic fab­ key change and a restatement of the be­ ric, incomplete sonorities, extremes in the ginning motives with an overlap of an­ Extended Works vocal range, or problematic leaps in the other rhyme, "Mary had a little lamb," re-worked vocal parts. To provide a again set in the women's voices. The piece Mass for Three Equallflices worthwhile and authentic alternative, quickly builds intensity and ends with Francesco Durante Robert Harris has edited and published a everyone whispering or shouting the Robert Harris, ed. wonderful mass originally composed for opening rhyme. By including hand clap­ National, NMP-312, $2 three equal voices by Francesco Durante. ping and an outline-style accompaniment Though a Baroque musician, Durante Waters helps the piece retain rhythmic Choral directors searching for early composed the "Mass for Three Equal and harmonic precision. The rhythmic sacred music in three parts often select Voices' for unaccompanied voices in stile and harmonic skills necessary to perform this piece may warrant a closer look by a director of an advanced high school or average collegiate choir, however the nov­ CHORAL POSITION AT LEE UNIVERSITY elty of this piece may be reason enough to include it in a lighter program. HE Lee UniversitySchool of Music, Cleveland, TN, invites applications for a full­ Suzanne M Pence T time, tenure-track position in Choral Conducting. Candidates should hold a The University ofTexas at Austin terminal degree in the discipline. Responsibilities include teaching classroom and private Austin, Texas78729 applied conducting at the undergraduate and graduate levels and directing one or more choral ensembles. Successful teaching and/or choral conducting at the college or professional level is preferred. Rank and salary are commensurate with experience. Collections Lee University is a growing private university of 3,500 students. Approximately 250 undergraduate music students and 30 graduate students are taught by 20 full-time Four Festal Psalms instructors. Over 500 students are involved in choral activities. A church-sponsored institution, Lee is committed to cultural and ethnic diversity enhanced by its international Various Composers students. SATB & Organ Letters of application and resumes may be sent to Dr. Jim Burns Oxford, CMSO 22, $7.50 (jburns@leeuniversity;edu), Interim Dean, School of Music, Lee University, Cleveland, TN 37320-3450, or visit www.leeuniversity.edu . It should be noted at the beginning of this review that these are not concert pieces, but rather service music gathered from "four eminent cathedral organist Like a well-balanced choir, Witte composers." Barry Rose's Opening Re­ Travel's team of travel professionals sponses for a Festival Service is the only and concert organizers work in music not set in the style of Anglican harmony to take care of every detail of Chant, and it provides several alternate your group's touring and performance endings so that the piece may be dove­ Hannonize needs. tailed into service music of various keys. Settings of psalms 24, 114, 121, 150 by throughout your Philip Marshall, Edward Bairstow, Barry Rose, and John Sanders respectively are Concert Tour also included in this collection. ~,~ Published for the Church Music Soci­ without skipping ety by Oxford University Press, this col­ WITTE TRAVEL &TOURS lection was published to celebrate their Custom-designed concert tours for a beat! travel in Europe and North America nintieth anniversary of that organization, and brings in to print some music not Call 800-469-4883 previously available to church musicians. This collection is highly recommended E-mail: [email protected] to those church choirs who are looking www.wittetravel.com to expand their service music resources. 3250 28th Street SE Ray Sprague Grand Rapids, MI 49512

VOLUME FORTY-T.WO 8S NUMBER EIGHT CHORAL JOURNAL MARCH 2002 antico, the ancient style of Palestrina. He in texture and voicing. He did not in­ directors may appropriately assign a SAB employed diatonic, stepwise melodies in clude the Benedictus in the Sanctus, mov­ voicing for a mixed choir, SSA voicing symmetrical points of imitation. After the ing directly from the Osanna to a short, for treble choir, or TBB voicing in a men's voices merge, he varied the texture with intense Agnus Dei. With these omissions chorus. Technically not difficult, this mass melodic fragments in antiphonal repeti­ and the absence of text repetition, Du­ is a flexible and aesthetically expressive tion, striking chains of suspensions, and rante compressed the Mass for Three Equal addition to the choral repertoire. long, melismatic runs in parallel thirds. U1ices to the duration of a missa brevis. Chris D. White In this manner, Durante fashioned music Community, high school, or univer­ Texas A&M University-Commerce worthy of the finest composers of the sity choir directors may easily program Commerce, TX 75428 Renaissance Roman school. and prepare the entire mass, a single Durante set four of the five mass move­ movement, or combinations of one or -C]- ments, omitting the Credo. He struc­ more movements. The vocal ranges and tured the Kyrie in three short sections of difficulty of the three parts lie well within equal length. He divided the longest the capabilities of most young singers. movement-the Gloria-into several sec­ Though the parts on this performing edi­ tions and varied each section with changes tion are erroneously listed as treble voices,

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