June/July 2014 CONTENTS Vol. 54 • no 11
Giving Patient Hope ŅŠ Jean Gilles’s Messe des Morts: to the Exile: A Study in Contextual Rethinking KASPARS PUTNI Period Performance Brahms’s Requiem A VISION OF DIVERSITY 8 18 32
ARTICLES INSIDE
8 Jean Gilles’s Messe des Morts: A Study in Contextual Period Performance 2 From the Executive Director 4 From the President by Mark Ardrey-Graves 5 From the Editor 6 Letters to the Editor 18 Giving Patient Hope: Rethinking Brahms’s Requiem 42 International Conductor Exchange Application by Jeffrey J. Faux and David C. Rayl 54 2015 National Honor Choir Information 56 2015 National Conference Information 32 Kaspars Putninš:, A Vision of Diversity 60 Brock Student Composing Competition 65 Herford Prize Call for Papers by Vance Wolverton 67 In Memoriam 80 Index for Volume 54 47 On the Voice edited by Sharon Hansen 92 Advertisers’ Index Choral Directors Are from Mars and Voice Teachers Are from Venus: “Sing from the Diaphram” and Other Vocal Mistructions, Part 2 The Choral Journal is the official publication of The American by Sharon Hansen, Allen Henderson, Scott McCoy, Choral Directors Association (ACDA). ACDA is a nonprofit professional organization of choral directors from schools, Donald Simonson, and Brenda Smith colleges, and universities; community, church, and profes- sional choral ensembles; and industry and institutional organizations. Choral Journal circulation: 19,000. Annual dues (includes subscription to the Choral Journal): COLUMNS Active $95, Industry $135, Institutional $110, Retired $45, and Student $35. One-year membership begins on date of dues acceptance. Library annual subscription rates: U.S. $45; 57 Repertoire & Standards editedited by Amy Blosser Canada $50; Foreign $85. Single Copy $3; Back Issues $4. Retention Strategies for Two-Year College Choirs Permission is granted to all ACDA members to reproduce ar- by Alice Cavanaugh ticles from the Choral Journal for noncommercial, educational purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. 545 Couch Drive, Updates from Student Chapters Oklahoma City, Oklahoma 73102. Telephone: 405/232-8161. by Amanda Quist All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except for July by the American Choral Directors Assoication, 63 Rehearsal Break 545 Couch Drive, Oklahoma City, Oklahoma 73102. Periodicals postage paid at Oklahoma City, Oklahoma, and additional The Piano in Rehearsal: A Tool or a Crutch? mailing office. POSTMASTER: Send address changes to Choral by Richard Sparks Journal, 545 Couch Drive, Oklahoma City, Oklahoma 73102.
69 Recorded Sound Reviews edited by David Puderbaugh Cover art by Efrain Guerrero, graphic artist, Austin, Texas 77 Choral Reviews edited by Steven Grives Interior art by Tammy Brummell Musical examples by Tunesmith Music
National Chair “June is bustin’ out all over…” and so is Amy Johnston Blosser Bexley High School FROM THE the 2014 ACDA Leadership Conference, 614-579-9346 [email protected] which will take place June 5-7 in Salt Lake PRESIDENT City, Utah. Held biennially, this event brings Boychoirs Julian Ackerley together offi cers and leaders from the Tucson Arizona Boys Chorus 520-296-6277 state, division, and national levels to immerse themselves [email protected] in a working knowledge of association procedures and Children's and Community Youth Choir Cheryl Dupont to help shape initiatives, projects, and offerings that will New Orleans Children’s Chorus benefi t membership. This year, nearly 150 members, 504-833-0575 [email protected] representing all divisions and more than twenty states,
College and University Choirs will travel to Salt Lake City to continue work on the Joey Martin Karen Fulmer fi ndings of the 2010 national survey that instructed Texas State University—San Marcos [email protected] leadership to focus on mentorship, lifelong opportunities
Community Choirs to sing, and outreach to community. Ron Sayer I am proud to announce that attendees will be trained in ACDA’s new Marshall Community Chorus 660-831-5197 national online mentoring program that enables mentors and mentees to [email protected] work together in person and virtually. This program is the realization of a direct Ethnic and Multicultural Perspectives request from membership to address this need. Time will also be devoted to JosÉ Rivera University of North Carolina a development plan called “Fund for Tomorrow”—raising funds to support 910-521-6290 [email protected] projects in communities. ACDA’s executive director, Tim Sharp, is leading the campaign, and we envision an active role for Repertoire & Standards chairs Junior High/Middle School Gretchen Harrison to identify needs, evaluate impact, and award grants to support choral music Frontier Trail Junior High 913-780-7210 outreach into communities and offer scholarship opportunities. The 2013 fall [email protected] membership drive, Sing Up!, was a great success, and leaders will study popu- Male Choirs lations and trends to shape the next membership campaign. Exciting work Christopher Kiver Penn State University is going on in the area of international opportunities through the conductor 814-863-4400 [email protected] exchange program and National Youth Choir tour. Each month, the national offi ce rolls out multiple resources for member- Music in Worship Terre Johnson ship, whether through ChoralNet, Choral Journal, social media postings, or Vestavia Hills Baptist Church [email protected] professional education sites; and leaders need to have a working knowledge of these offerings. In addition, training sessions are offered to familiarize lead- Senior High Choirs Daniel Bishop ers with ACDA’s procedures as outlined in the constitution and by-laws, Clovis East High School 559-478-1785 fi nancial responsibilities, conference planning, and national committee duties. [email protected] Our national conference chair, Mary Hopper, will present an overview of the Show Choirs program “under construction” for the 2015 National ACDA Conference, and Randi Carp Phoenixville Area High School attendees will be introduced to the fi nest sights, sounds, and tastes that Salt 484-927-5145 [email protected] Lake City has to offer. June is a month to bring the school year and concert season to a close, to Two-Year Colleges Dianna Campbell think “summer,” to fi nd professional renewal, and to make a signifi cant con- Seminole State College of Florida 407-708-2644 tribution to the vision shaping ACDA’s future. As the song concludes, “On [email protected] acounta it's June! June, June, June. Just because it's June, June, June!” Vocal Jazz Have a great summer fi lled with music! Patrice Madura Ward-Steinman Indiana University 812-855-7738 [email protected]
Women’s Choirs Iris Levine Vox Femina Los Angeles [email protected]
Youth and Student Activities Amanda Quist Westminster Choir College, Rider Univ. 616-901-3846 [email protected] Editorial Board
Once a month, the Choral Journal appears in your FROM THE Editor mailbox or inbox. I am not so unrealistic as to think Amanda Bumgarner ACDA National Office that you eagerly devour every word from cover to 405-232-8161 (ex. 205) cover, down to the last book review. Perhaps that EDITOR [email protected] is the case for some (and if so, I would love to hear Managing Editor Ron Granger from you!), but I suspect that the majority of you fl ip ACDA National Office through the pages, stopping only when a title or photo 405-232-8161 [email protected] catches your eye. As the editor, however, my job is to read every Board Members Hilary Apfelstadt single word within these pages. While that may sound University of Toronto 416-978-0827 like an unfortunate task, in fact I have found the op- [email protected] posite to be true. I continue to be fascinated by the Terry Barham breadth of the choral art, and I am grateful for the opportunity to expand my University of Missouri - Kansas City [email protected] own knowledge while working to bring that knowledge to the wider body of Kristina Boerger ACDA. Truthfully, had I come across many of these articles on my own, I likely University of Illinois [email protected] would have passed them by; so I understand why not every feature article may Philip Copeland appeal to you. I off er a challenge to you this month: Consider taking the time to Samford University read just one column or feature article outside your personal area of interest. 205-588-4794 [email protected] You may be surprised. James Daughtery Our cover article focuses on the Requiem Mass of French composer Jean University of Kansas Gilles (1668–1705). The Messe des Morts is Gilles’s most famous work, receiv- [email protected] J. Michele Edwards ing notable performances throughout most of the eighteenth century—special 651-699-1077 note given to the occasion of the burial offi ce of King Louis XV in 1774. Mark [email protected] Ardrey-Graves leads us in a study in contextual period performance, providing Lynne Gackle Baylor University insight into a rich work that contains liturgical and musical context that as yet 254-710-3654 has remained unexplored. In “Giving Patient Hope to the Exile,” Jeff rey Faux [email protected] Steven Grives and David Rayl present an alternative view of Brahms’s Requiem, reshaping the 605-695-9812 prevailing analyses of present comfort to suggest a context that points the [email protected] listeners toward a promised return to their heavenly home. Sharon A. Hansen University of Wisconsin-Milwaukee Finally, Vance Wolverton returns with part two in a series of four interviews 414-229-4595 with Baltic conductors, this one featuring Latvian conductor Kaspars Putniņš. [email protected] Edward Lundergan Interestingly, I recently fi nished reading a book about the tragic history of the SUNY-New Paltz Baltic republics during the latter half of the twentieth century. In 1940, the coun- 845-257-2715 [email protected] tries of Latvia, Lithuania, and Estonia were forced to become part of the Soviet David Puderbaugh Union, fi nally regaining independence and only reappearing on world maps in University of Iowa 319-335-1627 1991. I am grateful for the chance to help bring this history to light through this [email protected] extended series of articles on the Baltic region. For those interested, search the Jason Paulk word “Baltic” in the online Choral Journal index to fi nd more articles on this topic. Eastern New Mexico University 575-562-2798 Over the past months, I have learned about the history of performance prac- [email protected] tice, details of specifi c composers, and read in-depth analysis of both beloved Ann R. Small Stetson University and lesser-known choral works, to name just a few. As you look back over the 386-822-8976 fi rst half of 2014, I hope you can also say you have learned something new. If [email protected] not, what are you waiting for? Magen Solomon San Francisco Choral Artists 415-494-8149 [email protected]
Richard Stanislaw [email protected]
Stephen Town Northwest Missouri State University 660-562-1795 [email protected] LETTERS TO THE EDITOR to readers of the Choral Journal. I do have some concerns about factual analysis, and I would like to suggest the fol- lowing corrections. Page 15 reads: “Notice in Figure 4 that he culminates motives with open fi fths on specifi c words like ‘church’ and ‘congregation.’” A closer examination of the fi gure fi nds that on the word church there is a fourth, not a fi fth. And From the Editor only the second half of the word congregation is a fi fth; the other half is also a fourth. The one fi fth that is present in I greatly appreciate the scholars who submit ar- the word is actually in the middle of the measure rather ticles for consideration in the Choral Journal. Without than acting as the culmination of any motive. their love for choral music and subsequent desire to Skoog refers to Vaughan-Williams’s “leitmotif” (Figure share their analysis with the larger ACDA member- 1, p. 11) as being “quasi-chromatic.” The soprano melody ship, you would not have scholarly articles to read, of fi ve measures has only one accidental in it, and that is and I would not have a job. Throughout the history the fi rst note. Otherwise, it is an unremarkable outline of of this publication, numerous “Letters to the Editor” C major tonality. have been published in these pages with comments Figure 2 (page 13) features an analysis of the solo so- ranging from excitement about a particular article prano line that clearly outlines G minor tonality. The root, or topic to observances of errata to suggestions minor third, and perfect fi fth, along with the raised seventh, for differing interpretation. This type of communi- are all present within the melodic line. The entire melody cation reveals that the articles are not only being encompasses only a perfect fi fth and lies comfortably on read but also engaged with on a higher level that the staff. Except for the last two notes, which are repeated, utilizes analytical and theory skills. In the following the soprano solo is unaccompanied, according to his ex- exchange,Thomas Scott has written to suggest some ample. The analysis suggests that the soloist “soars” with corrections to William Skoog’s article “Musical Set- “shrill pleas for peace.” I am not sure what is soaring or tings of War Texts in Two Twentieth-Century British shrill about a soprano singing the text Dona Nobis Pacem Choral Works” (February 2014). A response from (grant us peace) in a limited range in G minor on the staff, the author follows Scott’s. I urge you to use this as unaccompanied, nor do I agree with the generalization an opportunity to engage in a music-text analysis of that sopranos soaring over an orchestra and chorus is your own, as these two choral scholars have done, “traditional” for a mass or oratorio. and take a second or even third look at the article In reference to Figure 9 (page 19), Skoog suggests a with new perspective. Keep this in mind as you read “whole-tone scale in the orchestra, outlining a tritone.” But future issues of Choral Journal. Take the time to write the orchestral harmony in question is rather straightfor- in with comments, concerns, or praises, and lend your ward. An argument could be made that there was modal voice to the conversation. shifting going on, or that major and minor were clashing, but in the three-measure piano reduction, the right hand ♭ ♭ Amanda Bumgarner simply outlines Cm, B m and A m chords in sequence. The Editor, Choral Journal left hand reduction is more complicated but still not a whole-tone scale. Skoog says about Figure 10 (page 20) that “the tritone Editor, incessantly rules in his work.” But this fi gure does not contain a single tritone. The fi rst two measures are block Thank you for Bill Skoog’s article comparing two major chords with perfect fi fth and major thirds, and the great choral works of the 20th century. Britten’s War ensuing measures outline three alternating major chords Requiem and Vaughan-Williams’s Dona Nobis Pacem in the bass with a repeating triplet A in the treble. And the are important pieces and deserve more exposure three choral parts have no accidentals in them, nor do they
6 CHORAL JOURNAL Volume 54 Number 11 ♭ even employ the natural triton of E-B found in the key of F. to speak of. The analysis also states that the ascending fourths in Like Dr. Skoog, I am amazed that no one has put the aforementioned melody are “indicative of the purity forth an analysis of these two fi ne choral masterpieces. in the sound of early church music.” I disagree that the The article was very enlightening and raised many in- perfect fourth indicates purity of sound; and while there teresting points, and we are in Skoog’s debt for taking are certainly perfect fourths in early music, the sweep of on this extensive project. the melody was generally more linear, as in the Vespers chant Audi benigne Conditor from the Liber Usualis. Thomas More Scott, Ph.D. On page 12, Skoog asserts that, “Britten incorporates Chagrin Falls, OH no Scripture at all” in his Requiem. However, the Requiem text that Britten employed is replete with Scripture. For example, in the Offertory section of the Requiem, the Response from the author Domine Jesu Christe is sung; the text is taken from Psalm 22:21. Several verses later, the Requiem text, “Which was Dear Editor, promised to Abraham and his descendants,” comes from Luke 1:55. The Agnus Dei (Lamb of God, who takes away Having given proper and respectful consideration to the sins of the world) is a direct quote from John 1:29. the issues brought forward by Dr. Thomas Scott about Speaking of the Agnus Dei, I would like to correct the my analysis of both Vaughan Williams’s and Britten’s notation of the text on page 13 that it is, “Lamb of God, works, I render the thought that any two persons may who takes away the sins of the world, have mercy on us, interpret and defi ne theoretical analyses differently, grant us peace.” Vaughan-Williams does not use the “have especially when dealing with the subjective matter of mercy on us” text that is in the tripartite form of the Agnus music-text analysis. No less than six respected, profes- Dei used in typical Roman Catholic liturgy. Rather, he only sional external evaluators read and edited this paper, all uses the third versical, which substitutes “grant us peace” of whom raised pertinent and pressing questions, as- for “have mercy on us,” hence the title of the piece, Dona sisted in the fi nal sculpting of this effort, and universally Nobis Pacem. supported and undergirded my analysis and wording. On page 20, Skoog refers to “the key of A Dorian,” Due to spatial concerns in the Journal, a number of which seems to mix a key and a mode in the same de- musical examples had to be deleted and/or truncated, scription. I believe “Dorian mode beginning on A” would and some of the concerns brought forward are likely be more accurate. Figure 15 (page 23) does not contain a result of shortening the excerpts. While I could see plainchant, as asserted by the analysis. Plainchant is typically reasons to alter phrasing and word choice based on understood as church music from the early Middle Ages Dr. Scott’s fi ndings, I stand by my analysis and inter- with modal origins. Figure 15 simply contains a soprano pretation of the composer’s work. There is much in soloist singing the sixth, fi fth, and third of a C major chord Dona Nobis Pacem that can be analyzed, articulated, that the chorus is intoning underneath. and debated; and a paper is naturally limited by size The soloist in the fi nal measures is said to settle “some- and scope permitted in such a journal. I am grateful what restlessly on the third of a C major triad” (page 23). for the opportunity to shed new light on this glorious However, there is no harmony, therefore no C major triad. work, although there is undoubtedly yet more to be And what is restless about the third of a major chord? considered. Perhaps Dr. Scott, or someone else, would Many famous pieces end quite calmly on that exact con- embrace taking on this task for further elucidation. fi guration (Randall Thompson’s Alleluia comes to mind). Vaughan Williams’s work is summarized thusly: “The work William Skoog begins, then, on a unison D, the seventh in an E7 chord, Rhodes College and concludes on an E, framing the entire work tonally.” Memphis, TN The piece does not end on an E7 chord; and because it begins and end on a single note, there is no tonal language
CHORAL JOURNAL Volume 54 Number 11 7
JJeanean GGilles’silles’s MMessesse ddeses MMorts:orts: A SStudytudy iinn CContextualontextual PeriodPeriod PerformancePerformance Mark Ardrey-Graves
The Requiem Mass of Jean Gilles is certainly not a workhorse of the concert hall or even the Baroque fes- tival, but it has nevertheless enjoyed a comfortable performance history both throughout the eighteenth century and again since the 1950s.1 Even with its interpretation on record and in con- cert by a number of leading Baroque performance ensembles, however, Gilles’s Messe des Morts has yet to be thoroughly explored or presented in an historically informed contextual man- ner that grounds the composition in its ritual-liturgical roots.
Mark Ardrey-Graves Doctoral Student in Choral Conducting James Madison University [email protected]
CHORAL JOURNAL Volume 54 Number 11 9 Jean Gilles’s Messe des Morts
BBackgrouackgrou ndnd musique at the Cathedral of St. Etienne Gilles’s most famous work and has been in Toulouse. Although the archival re- considered so since soon after his death. Jean Gilles was born on January 8, cord enigmatically suggests attempts by The composition of the Messe des Morts 1668, in Tarascon, Provence, a small vil- Gilles to secure a position at the larger most likely dates from the last two or lage near Avignon.2 In 1679, Gilles was Cathedral in Avignon,3 he appears to three years of his life. Gilles was com- accepted as a chorister at the Cathedral have held the post in Toulouse until his missioned to compose the work for the of Saint-Sauveur in Aix, fi fty-eight miles death in 1705 at the age of thirty-seven. funeral of a Toulouse government offi cial, away. Due to illness, however, he was An early eighteenth-century account but the offi cial’s son refused to pay the assigned a probationary period before of his grave marker, no longer extant, expense for the instrumental forces he could begin active participation; this reads, “Here lies Jean Gilles, cleric of this that the composition required. Gilles, was the fi rst indication of the fragile church, no less distinguished in the art of therefore, stated that the Mass would health that would plague him through- his music than for his harmonious mode not be performed until after his own out his short life. In 1687, at the age of of life.” Surviving works attributable to death. It is reasonable to assume that the nineteen, Gilles was accepted to stay on him are three masses (one discovered in Mass was performed at Gilles’s funeral in the employ of the Cathedral, one year an archive in Belgium and authenticated in Toulouse.5 later assuming the rank of sous-maître. only in the year 20074), thirteen Grands Following Gilles’s death, his music— Six years later, he replaced his retiring Motets (including a Te Deum and a set- the Messe des Morts in particular—re- teacher, Poitevin, as maître de musique at ting of the Lamentations), and numerous ceived notoriety across France. The the Cathedral but held the post for less Petits Motets. Archival records list the German theorist and composer Johann than two years. In early 1695 he took a names of other motets either lost or as Mattheson commented on a perfor- teaching position in nearby Agde, and in of yet unidentifi ed. mance of the work in Grenoble in 1726. late 1697 he was hired as the maître de The Messe des Morts is arguably It received a number of performances between 1749 and 1770 at the Concert Spirituel, an important public subscrip- tion concert series in Paris.6 In 1756 it was performed at a memorial Mass for the harpsichordist Pancrace Royer (who had directed the Concert Spirituel from 1748). It received another notable liturgical performance in Paris in 1764 at a funeral mass for Jean-Philippe Rameau, and ten years later for no less an occa- sion than the burial offi ce of King Louis XV. In Provence, the work continued to be sung as late as 1805, in a pastiche ver- sion that combined it with movements from the Messe de Requiem of Gilles’s countryman André Campra.7 AMERICAN The Messe des Morts exists in a num- CLASSICAL ber of eighteenth-century manuscripts, the earliest dating from Toulouse c. 1731. Following the performance for Rameau’s MUSIC memorial service, the score was pub- lished by Michel Corrette, who claimed to have published it as Gilles wrote it. In Weston Noble was inducted into the American Classical Music Hall of Fame for 2013 during its earliest extant form (both the 1731 2014 North Central ACDA Conference in Des Moines, Iowa. The award was presented manuscript and the 1764 publication), by Vance Wolverton. the Messe des Morts is scored for four-
10 CHORAL JOURNAL Volume 54 Number 11 A Study in Contextual Period Performance
presentation at the burial of King Louis “Given the documentation of the Messe des Morts’s XV in 1774. One cannot even assume that lively performance history throughout the eighteenth the notes themselves would be the century, the notion of an historically informed common thread. At Rameau’s funeral, for example, not only was the work modern performance immediately encountersers a reorchestrated with oboes, horns, daunting problem: performers can approachh and bassoons, but certain movements Gilles’s Mass from a number of equally (such as the Kyrie) were even rewrit- ten.11 That being said, a researched, viable entry points. historically informed performance study is neither futile nor unproductive but simply in need of a careful and nuanced approach that focuses on contextual part orchestra (with fl utes doubling the edition edited and published by Michel particulars. Gilles’s Messe des Morts is dessus de violon) and fi ve-part choir. Ex- Corrette.10 A scholarly performing edi- a wonderful candidate for an explora- tensive solo and ensemble-solo passages tion of the Mass, edited by John Hadju tion of numerous and equally legitimate predominate the texture for fi ve vocal Heyer, was published by A-R Press historical performance practices. For the soloists: two dessus (trebles), haute- in 1984 as Volume 47 of the Recent purpose of this brief study, the liturgical contre (high tenor), basse, and taille haute Researches in the Music of the Baroque performance in Toulouse in 1705 takes (tenor). The inclusion of a solo part for Era series. This publication remains the primacy of place and will be the focus taille haute, although not completely uncontested critical modern edition of discussion. In many ways, the 1705 unknown in French vocal music of the of the work. Both full score and vocal Toulouse context raises perhaps the early eighteenth century, is nevertheless score of Heyer’s edition are available most interesting performance practice uncommon and one way that Gilles’s for purchase from the publisher; instru- questions; unfortunately, they are also work bears a distinctive stamp. mental parts are available for rental. The the most unanswerable. The modern conductor and re- published score is also widely available searcher are fortunate to have ready in university libraries. access to the music of the Messe des Given the documentation of the PPerformanceerformance PPracticeractice Morts in both manuscript facsimile Messe des Morts’s lively performance CConsiderationsonsiderations score and scholarly performing edi- history throughout the eighteenth tion. A manuscript of Concert Spirituel century, the notion of an historically Gilles’s Mass setting includes com- provenance, dated to 1762, is available informed modern performance imme- posed concerted music of the following online from two different sources: at diately encounters a daunting problem: sections: Introit (Requiem aeternam), the International Music Score Library performers can approach Gilles’s Mass Kyrie, Gradual (Requiem/In memoria Project (IMSLP) and at Gallica, the online from a number of equally viable entry aeterna), Offertory (Domine Jesu Christe/ database of the Bibliothèque nationale points. The work’s fi xture in the French de France.8 The Gallica database also musical consciousness for over eighty contains three manuscript scores from years suggests that it witnessed and was the eighteenth century, dating to 1731, subject to the changing face of perfor- c. 1740, and 1753.9 The 1731 copy, like mance practice during the eighteenth that of 1762, was at one time in the rep- century. Anyone interested in the notion ertoire archives of the Concert Spirituel. of a contextual “period” performance of Like most music manuscripts from the this work must fi rst ask which period is RISERS, FOLIOS, BOARDS & Baroque era in France, these scores are in question. The funerary performance MORE @ DISCOUNT PRICES! written in a meticulously neat hand and of the mass in Toulouse in 1705 would FREE MUSIC PRODUCTS CATALOG are quite legible for the modern reader have marked differences from its con- 1-800-280-40701-800-573-6013 (once clefs are taken into account). Also cert life at the Parisian Concert Spirituel www.valiantmusic.com available at Gallica is the 1764 printed in the 1750s, and different still from its
CHORAL JOURNAL Volume 54 Number 11 11 Jean Gilles’s Messe des Morts
Hostias et preces), Sanctus and Bene- dictus, Agnus Dei, and Communion The Messe des Morts began its life as an instrument (Lux aeterna). At the Concert Spirituel, “ the work would have been performed of ritual and prayer, a part of the larger ceremonial thus—one movement following anoth- fabric that was the Requiem Mass and Burialal Offi ce er in progression, just as the work exists in the manuscript and modern edition of the Roman Catholic Church, rather than scores and as one might expect to ex- as art music to be pondered and perience it in a modern concert hall or on recordings.12 In the liturgical context appreciated in a concert hall. for which Gilles originally conceived the work, however, the presentation would have been quite different. The timeless relic of the early Middle Ages. decorating the preexisting chant melody scholarly consensus is that the Messe As Marcel Pérès points out, plainchant with parallel harmonies in two, three, des Morts was fi rst performed at the in France around the year 1700 was a or even four voices. It was employed cathedral of Saint-Etienne in Toulouse in lively arena for debate, variation, and primarily in psalmody and hymnody February 1705 at the funeral mass for even original composition.14 Compos- and also occasionally in the singing of the composer himself. As such, it began ers such as Guillaume-Gabriel Nivers, responsories as a means of accentuating its life as an instrument of ritual and Henri Dumont, and André Campra, as the solemnity of the liturgy. The practice prayer, a part of the larger ceremonial well as numerous anonymous fi gures, was an improvisatory one, well docu- fabric that was the Requiem Mass and revised, adapted, and composed new mented in the area around Paris from Burial Offi ce of the Roman Catholic chants across a spectrum of aesthetic the sixteenth through the nineteenth Church, rather than as art music to be approaches, attempting to balance centuries, with some notated examples pondered and appreciated in a con- received-tradition conservatism with preserved in seventeenth-century cert hall. In such a ceremonial context, modern rhetorical-aesthetic and tonal- manuscripts.18 Although the practice is the concerted polyphony would not rhythmic progressivism.15 not as well documented in the French have been presented all at once but Additionally, the plainsong in south- regions beyond Paris, the tradition of im- scattered throughout the ritual of the ern France at this time would not provisatory fauxbourdon singing remains funeral mass. Other portions of the necessarily have been unaccompanied. a living one in parts of Italy, the Iberian liturgical ritual, texts not set by Gilles, The serpent (the bass member of the Peninsula, and the Mediterranean islands, would have been sung in plainsong or cornett family) was a nearly ubiquitous so one can cautiously surmise that such recited in a monotone chant. instrument in Provençal churches, in- a practice would have been familiar in The specifi c repertoire of these litur- cluding those of Toulouse, from the late eighteenth-century Languedoc. gical chants themselves is elusive. While sixteenth through the early nineteenth the modern conductor or scholar might centuries, employed in the accompani- instinctively reach for a copy of the ment of plainsong (and possibly even A QuestionQuestion ofof Liber Usualis to supply the necessary polyphonic) singing.16 Whether this GGeographyeography andand LanguageLanguage plainchant melodies, such a move would practice would have extended to the be anything but authentic: plainchant in solemnity of a funeral mass deserves The issue of geography plays an seventeenth- and eighteenth-century further inquiry, but given the ceremoni- important moderating—and confound- France was in all likelihood a far dif- ousness of the occasion for which Gilles ing—role for the musical-liturgical ferent creature than that standardized composed polyphonic and orchestral- researcher. The musical life of late seven- by the Solesmes monks and codifi ed accompanied music, there is no reason teenth-century France was so thorough- in the Liber Usualis in 1896.13 Indeed, to doubt the serpent’s participation. ly Paris-centric that the archival evidence the standard aural image that most Another issue surrounding the rec- for how things were done beyond the of us possess for “Gregorian chant,” reation of late seventeenth- and early sphere of the Île-de-France is almost the image that is taught in most music eighteenth-century plainsong perfor- nonexistent. Research for this study thus history classes, is as much a product of mance practice is that of improvised far has uncovered no published scholar- the late nineteenth century as it is the fauxbourdon.17 This practice consisted of ship on the specifi c topic of provincial
12 CHORAL JOURNAL Volume 54 Number 11 A Study in Contextual Period Performance
(let alone Provençal) plainchant practice the eighteenth century, at the Concert France and is even today the center and repertoire in the seventeenth and Spirituel and other performances in Paris of Occitan language and culture in the eighteenth centuries. There is, however, and the north of France, choirs would country. Although the Occitan language one possible pertinent clue here. In certainly have sung Gilles’s Mass with is in many respects a close cousin of a 2001 article in Early Music, Jack Eby the well-documented Francophone French, it is markedly different in its presents a comparison between the pronunciation, but we cannot immedi- phonology and pronunciation.26 Thus, a “Parisian” and “Roman” traditions of ately make the same assumption about native Occitan/Provençal speaker would Requiem Mass settings beginning with Toulouse. The city sits solidly in the approach Latin from a different vantage Ockeghem (c. 1480) and continuing ancient Languedoc region of southern point than would a speaker of French. through to Cherubini (1816).19 The two traditions differ mostly in details: the wording of some of the texts, the presence (Parisian) or absence (Roman) TTableable 1 - OrderOrder ofof ServiceService of a troped Sanctus, the choice of texts for the Offertory and Gradual, and the MMassass MovementMovement MusicalMusical SettingSetting inclusion (Roman) or omission (Parisian) Entrance Rite plainsong of the Dies Irae within the liturgy. In ev- ery instance but one (that of the lack of Introit Gilles a polyphonic, composed setting of the Kyrie plainsong incipit – Gilles Dies Irae), Gilles’s setting of the Requiem corresponds with the Roman tradition, Collect plainsong as do those by his contemporaries Epistle plainsong – reciting tone Poitevin, Campra, and Charpentier.20 With this (admittedly scant) informa- Gradual Gilles tion in hand, we can surmise a liturgical foundation fairly consistent with that of Tract (Absolve Domine) plainsong the post-Tridentine Graduale Romanum Sequence (Dies Irae) plainsong and sketch a hypothetical outline of the Gospel plainsong –reciting tone order of service for the 1705 Toulouse Requiem Mass liturgy. (Table 1) Offertory Gilles If Table 1 addresses what texts were Preface (sursum corda) plainsong sung for the Requiem liturgy in 1705, it leaves unanswered how those texts Sanctus & Benedictus Gilles were sung. The pronunciation of the Latin text is a particularly thorny issue. Elevation (Pie Jesu) plainsong; interspersed It was not until the year 1904 that the between the 21 Vatican proclaimed the universal adap- Sanctus & Benedictus tation of “Italianate” pronunciation of Pater Noster & Anaphora plainsong Latin for all ecclesiastical functions, and the French in particular resisted the shift Respond (Qui Lazarum) plainsong for a further two decades.24 Prior to Agnus Dei Gilles that time, the pronunciation of liturgical Communion plainsong Latin would have followed the rules and patterns of the vernacular tongue of Postcommunion Gilles the local region. Recent decades have Motet [often, in France, a setting of the De Profundis]22 witnessed the near-wholesale adoption of (Parisian) French pronunciation of Absolution (Libera me/In paradisum) plainsong23 liturgical Latin in performances of the sacred French Baroque repertoire.25 In
CHORAL JOURNAL Volume 54 Number 11 13 Jean Gilles’s Messe des Morts
Were one to assume that “French was at hand, an examination of Gilles’s set- more or less equal stress, with a slight at best a second language”27 for the ting of the text in his Messe des Morts accent usually…on the fi nal syllable of choristers of Saint-Etienne and that in order to deduce pronunciation clues the word. In [Italianate] Latin, syllabic their approach to spoken Latin was the is at best a speculative and inconclusive stress often occurs on the penultimate same as that across Europe at the time enterprise. While his rhythmic applica- or antepenultimate syllable of a word.”30 (pronunciation following that of the tion of the Latin text in both the choral A conductor (or singer) armed with vernacular), then the aural result would and solo contexts suggests a knowledge this knowledge will fi nd Gilles’s rhythmic be something more akin to an Italianate of and ease with the syntax of that structuring of this movement entirely or Hispanic pronunciation. language, the musical writing itself for sensible from a French-pronunciation At the same time, it is important to the most part does not provide any approach, while such text setting would consider that even in the far south of clear clues as to the manner of pronun- be counterintuitive (or just bad writing) the Midi, French was the language of ciation. The one movement where we from an Italianate or Occitan-based power and of the educated class. Les- might crack the code is the Kyrie. Gilles perspective. Employing this insight, the sons in French were an integral part consistently places the fi nal syllable of all conductor would be entirely appro- of the choristers’ daily schooling at the three words (Kyrie, Christe, and eleïson) priate and contextually grounded in cathedral,28 and a large cathedral in an on strong beats, often with agréments choosing a francophone approach to important city such as Toulouse would (which further accentuate the beat the Latin.31 One may very well ask why undoubtedly draw a certain amount of in question) specifi ed on those same such an issue is important—a question cosmopolitanism. How this translated ultimate syllables. (Figures 1 and 2) This that Andrew Parrot addresses when he into the daily recitation of Latin texts very well may point to a francophone writes, in liturgical performance, however, may approach to the Latin: as Reeves states, never be known.29 Turning to the work “In French Latin…all syllables receive “[F]irstly, a correctly underlaid text will become easier to sing…the appropriate vowel from the period is likely to be technically more helpful to the singer… Secondly, the rhythms of the music and language are more likely to match… Thirdly, Latin is rescued from appearing to be a dead language, or the exclusive property of the modern Roman Church… In short, [it] can shed unexpected light on the nature of the music itself and in particular it helps to refi ne our understanding of the subtle balance of music and text that characterizes the best vocal writing of any age.”32
Along with the issue of appro- priate pronunciation of the text in performance is that of appropriate execution of the notes, both vocal and instrumental. The music of the French Baroque is distinctive among seventeenth- and eighteenth- century repertoires in its use of agréments, often designated to a high degree of specifi city by the composer or copyist. Agréments
14 CHORAL JOURNAL Volume 54 Number 11 A Study in Contextual Period Performance fundamentally differ from the standard notion of “ornamentation” in that “The modern scholar must concede that an exhaustively they are not extra, fi ligree additions to preexisting music but are an essential and thoroughly authentic reconstruction of component of the composed music as Gilles’s Messe des Morts embedded within conceived by the composer. Many of the manuscript scores (as well as the edition an early-eighteenth century Toulousain by John Hadju Heier) make use of the liturgy is as elusive as it is desirable. sign “+” to designate these agréments, typically executed as a trill beginning on the upper auxiliary. However, one further device common to French music instruments, as available: harpsichord, Spirituel in Paris through the second half of the era was expressly not written into lute, theorbo, bassoon, and harp were of the eighteenth century, in a secular the music, namely that of notes inégales. equally viable options. As was the norm and concert-style environment,36 the This employment of a slight “swinging” for French choral writing of the period, performances and recordings of the of pairs of stepwise-moving eighth or Gilles cast the work for fi ve-part choir: past thirty years do represent their own sixteenth notes is one of the most dessus (treble), haute contre (high tenor), integral authenticity that should not in well-known performance practices of taille haute (tenor), basse taille (bari- any way be scoffed and offer their own seventeenth- and eighteenth-century tone), and basse (bass). The choirboys performance-practice insights. France, described by both French and would have sung the dessus part in the Among these available recordings, non-French musical writers of the day as polyphony, as female singers would not two deserve special mention here. The a prevalent feature of both sacred and have taken part in liturgical events. The 2010 recording by the Orchestre Les secular repertoires. solo dessus voice would have likewise Passions and Chœur Les Elemens, under The size and constituency of the been sung either by a boy treble or an the direction of Jean-Marc Andrieu, choral ensemble at Toulouse in the adult male falsettist or possibly even includes a serpent in the orchestra and opening years of the eighteenth century a castrato.35 The remaining four voice continuo group, as mentioned previ- is not well documented, but evidence parts were all sung by changed male ously, adding a distinctive timbre to suggests eight choirboys, with a fur- voices. the musical performance. The 1993 ther complement of clergy-cantors (in recording by Joel Cohen and the Bos- minor orders) to round out the choir, CConclusiononclusion ton Camerata, uniquely, includes some suggesting a total number of between items of plainchant (Requiem æternam fourteen and sixteen voices in the core In the fi nal analysis, the modern schol- at the beginning, Absolve Domine after choral ensemble.33 These singers were ar must concede that an exhaustively the Gradual, a partial Préface, and most supported by the organist, a serpent and thoroughly “authentic” reconstruc- notably a Dies Irae and Qui Lazarum, player, and a basse de violon player.34 tion of Gilles’s Messe des Morts embed- both offered in a putative Provençal As previously stated, the serpent was ded within an early-eighteenth century rhythmicized treatment) interspersed used to accompany plainchant; it might Toulousain liturgy is as elusive as it is de- among the concerted movements. In so very well also have contributed to the sirable. Even a fairly cursory and surface doing, Cohen’s treatment comes closest continuo group in the concerted music. exploration of some of the main topics to conjuring the liturgical context of the A recent recording of the Messe des of inquiry, such as this paper represents, work, although he leaves untouched Morts performed by Jean-Marc Andrieu demonstrates that the employment of the issues of fauxbourdon singing or and the ensemble Les Passions (2010, period instruments, notes inégales, agré- accompaniment of the plainsong by Ligia Digital) makes use of the serpent ments, vocal forces and voice types, and the serpent, and his decisions regarding in the continuo group. On occasion (such pronunciation of Latin à la française, which chants to include seem somewhat as a solemn Requiem Mass), the above desirable and helpful though these de- arbitrary and haphazard and nowhere numbers were augmented by additional vices are, is insuffi cient to provide a truly near complete.37 It is also worth note singers from the city’s other churches historically informed presentation of the that Cohen’s recording, even as it at- and instrumentalists (primarily violins) work approaching its original context. It tempts through intentional use of Itali- from the town. The continuo group could is worth repeating that, given the Messe anate pronunciation of the Latin text to also be enriched by an assortment of des Mort’s vibrant life at the Concert distance Gilles’s work from the Parisian
CHORAL JOURNAL Volume 54 Number 11 15 Jean Gilles’s Messe des Morts
sphere, makes generous use of that that “this Mass…makes [Gilles’s] death Dame-des-Doms in Avignon more than most telling of French Baroque stylistic much regretted.”38 once during the period 1701– 1702. He devices, notes inégales. also is, however, consistently mentioned The variety of interpretive decisions in the archival rolls of the cathedral in exhibited between the various record- NOTES Toulouse during this same period, where ings of the Messe des Morts currently he was fi rmly established, on the payroll, 1 available underscores the breadth of James R. Anthony, French Baroque Music and had his contract renewed at the (Portland, OR: Amadeus Press, 1997), beginning of 1702. the performance practice umbrella, 4 as well as the amount of speculative 271; John Hajdu Heyer, “Preface,” Jean John Hajdu Heyer, “A newly discovered decision-making required by conduc- Gilles: Requiem (Madison: A-R Editions, French baroque Mass by Jean Gilles: Reconsidering the concerted Mass in tors in approaching this repertoire. An 1984), xi. 2 Biographical information in the following France c. 1700” (January 1, 2007): RILM extremely rich fi eld of research and paragraph is drawn from John Hajdu Abstracts of Music Literature, EBCOhost experimentation remains to be tilled Heyer, “Jean Gilles (1668– 1705): A (accessed March 22, 2014). in historically informed approaches to 5 Biography,” in Musicology at the University Heyer, “Preface,” x. Gilles’s music. Further exploration of of Colorado: A Collection of Essays (1977): 6 Anthony, 271. the liturgical and musical contexts of 80– 94. 7 Heyer, “Preface,” xi. early eighteenth-century Provence will 3 Ibid., 87– 88. Heyer points out, as did sev- 8 The IMSLP score may be accessed at continue to uncover the riches of the eral earlier biographers, that Gilles’s BBibliographyibliography Bisaro, Xavier. “Le plain-chant au XVIIIe siècle: enjeux et manifestations d’un Êtreecclésiastique.” Actes du colloque de Poitiers (2010): 93–107. Dufourcq, Norbert. “Contribution a l’histoire du Concert-Spirituel dans la seconde moitié du XVIIIe siècle.” Recherches sur la musique française classique XIX (1979): 195–210. Gilles, Jean. Messe des mors [sic]. Manuscript score. Paris: n.p., c. 1762. From the Bibliothèque National de France, départe- ment Musique, L-4310. http://gallica.bnf.fr/ark: /12148/btv1b8419204g.r=Jean+Gilles.langEN (Accessed April 25, 2013). Gilles, Jean. Requiem. Philippe Herreweghe, La Chapelle Royale. Harmonia Mundi 901341, 1990, compact disc. ______. Requiem. Joel Cohen, The Boston Camerata. Erato D 102548, 1993, compact disc. ______. Requiem. Hervé Niquet, Le Concert Spirituel. Oberlin Adda 581175, 2000, compact disc. ______. Requiem. Jean-Marc Andrieu, Orchestre Les Passions. Ligia Digital 202196, 2010, compact disc. Heye, John Hajdu. The Life and Works of Jean Gilles. PhD diss., The University of Colorado, 1973. ______, ed. Jean Gilles: Requiem (Messe des Morts). Madison: A-R Editions, 1984. Kennedy, Michael and Joyce Kennedy, eds. Oxford Dictionary of Music, Sixth Edition. Oxford: Oxford University Press, 2012. Randel, Don Michael, ed. The Harvard Dictionary of Music. Cabridge, MA: Harvard University Press, 2003. Ranum, Patricia M. Méthode de la prononciation Latine dite Vulgaire ou a la Française: Petite méthode à l’usage des chanteurs et des récitants d’après le manuscrit de Dom Jacques Le Clerc. Arles: Actes Sud, 1991. 16 CHORAL JOURNAL Volume 54 Number 11 A Study in Contextual Period Performance btv1b8419204g> perfectionner la prononciation, & non 1682 – 1790.” Annales du Midi LXXXVI, 9 Stable URLs for the online scores are as pas la corrompre’: L’accentuation du 118 (1974): 299. follows: chant grégorien d’après les traités de 29 Machard provides the name of one of the (1731), CHORAL JOURNAL Volume 54 Number 11 17 Giving Patient Hope to the Exile: Rethinking Brahms’s Requiem Jeffrey J. Faux and David C. Rayl Ein deutsches Requiem, Johannes Brahms’s ing the lives or praying for the souls of those largest composition, is universally consid- who had died.”4 ered his most important choral work and If, however, one approaches the work one of the most signifi cant large-scale cho- without the preconceived perspective of ral works of the nineteenth century.1 The “comfort,” one encounters palpable moments authors of most relevant monographs and of discomfort and even anxiety. The opening nearly all performance program notes and measures, for example, seem at odds with CD liner notes describe it as a work of hope any pervading atmosphere of consolation and comfort for the living rather than the for the living. The throbbing low Fs suggest plea for the salvation of the dead found in a feeling of deep foreboding. Are we in F the Catholic Requiem. major or F minor? The E-fl at introduced in m. In his introduction to Brahms: A Ger- 2 creates a dissonance that pulls the ear away man Requiem, Michael Musgrave claims, from the security of tonic. Far from eliciting “Brahms indicates…the primary emphasis of a sense of comfort, the harmonic instability his text is on the comforting of the living and of this minor seventh interval establishes an not the spiritual destiny of the departed.”2 In even deeper sense of disquiet. Was this work his 1990 biography, Malcolm MacDonald written simply to relieve the sorrow of the opines that the Requiem “essentially ad- living, or does it carry a deeper message? In dresses the feelings of the bereaved, in a con- Brahms and the German Spirit, Daniel Beller- solatory meditation on the common destiny McKenna examines the contrasting nature of the dead and the living.”3 Leonard Van of much of the text. He asserts that “Brahms Camp, in A Practical Guide for Performing, affords comfort a dualistic nature...comfort Teaching and Singing the Brahms Requiem, is promised, and thus serves as a pivot be- summarizes the standard characterization in tween that which is and that which will be.”5 his opening paragraph: “Nearly the whole His assessment provides a more nuanced ap- thrust of the texts which Brahms selected proach to the theme of “comfort” but without was to comfort the living—those who had offering or even suggesting a more complete lost loved ones—rather than commemorat- study of the biblical texts. Jeffrey J. Faux David C. Rayl Director of Sacred Arts, First Presbyterian Church and Professor of Music, Director of Choral Programs, and Artistic Director, Fort Myers Symphonic Mastersingers Associate Dean for Graduate Studies and Research, [email protected] Michigan State University College of Music [email protected] 18 CHORAL JOURNAL Volume 54 Number 11 Giving Patient Hope to the Exile Rethinking Brahms’s Requiem In this article, the authors advance himself liked to show off how well he he admonished, “In my opinion, the text an alternative view to the prevailing knew his way around the heilige Schrift must be printed at the head of the full analyses of Brahms’s oft-performed (Holy Scripture), either by pointing out score and of the piano score, and that work. A careful examination of the texts fi ner theological points in his settings precisely according to the enclosed Brahms selected and arranged and the of biblical texts to his friends, or by as- text—in stanzas.”9 music he wrote reveals the following suming a mock-biblical tone in letters.”6 It is crucial to place Brahms’s choice overarching message to his listeners: Brahms himself asserted, “I can lay my and arrangement of texts both within Humanity can fi nd solace in the aware- hand on the Bible in my study even in the Bible as a whole and within the ness that this world is not “home.” Rather, the dark.” 7 context of the individual books from an exiled people await with patience the Musgrave, commenting on Brahms’s which they were extracted. Knowing fulfi llment of a promised return to their process in assembling the text, maintains, (as Brahms surely knew) to whom these heavenly home. The sense of forward “[He] is known to have borrowed a pericopes were addressed, which role motion implied in this view reshapes large biblical concordance seemingly they were intended to play, and which the notion of “comfort” and provides to check his text and its sources during ideas they aimed to communicate re- a context in which the opening mea- fi nal work on the Requiem in Zurich veals an architecture that articulates the sures of the Requiem intentionally point in 1866.”8 Clearly, Brahms had a deep fundamental biblical theme of exile and the listener toward that which will be understanding of and fl uency with the return. Adam and Eve were exiled from rather than that which is. This analysis German Bible; that expertise must be the garden of Eden. Enslaved in Egypt, begins where Brahms began—with the considered when analyzing his choices. Israel ultimately fl ed, then searched for scriptural texts that he himself orga- That he viewed the biblical texts as his and found the Promised Land. Exiled to nized. Beller-McKenna reminds us that foundational starting point can be ob- Babylon, the Jews returned from captiv- “Brahms’s familiarity with the Bible is served in his insistence on placing the ity to rebuild the Temple in Jerusalem. a commonplace of music history and full text at the beginning of the published In fact, most of the Bible can be seen was well known among his circle. He scores. Writing to his editor in May 1868, as a series of attempts to reconcile the separation between God and humanity, culminating in Christ’s role as the gate- way to resolve humankind’s separation from God. This textual interpretation, focusing on Brahms’s choice of biblical literature addressed to exile communi- ties, provides the foundation on which A German Requiem may be read. To Words of Holy Scripture Ein deutsches Requiem nach Worten der heiligen Schrift (A German Requiem to Words of Holy Scripture) is the title Brahms submitted to his publisher and the full title of the work in its fi rst publication in November 1868.10 This should not be viewed as an unassuming subtitle but an unusual deviation from the typical short titles Brahms used, especially when referencing traditional compositional forms.11 Brahms’s choice 20 CHORAL JOURNAL Volume 54 Number 11 of words reveals much about his cre- formed theology rejected the idea of Those who sow with tears will reap with ative point of view in what he clearly a living person praying the dead into songs of joy. Those who go out weeping, conceived as a pathbreaking work. heaven as in the Catholic Requiem.16 carrying seed to sow will return with songs Interestingly, he calls it a “Requiem,” a In The Reformation of the Dead, Death of joy, carrying sheaves with them. Latin rather than a German word. In and Ritual in Early Modern Germany, doing so, this most tradition-conscious Craig Klofsky expands on this point: “In —Psalm 126:5-6 of nineteenth-century composers pays the Lutheran funeral, the relationship be- homage to the centuries-old funeral tween the living and the dead is negated, The work begins with the second rite. But he qualifi es it with the adjective but it still determines the purpose of the couplet from the Beatitudes, part of the Sermon on the Mount. The struc- ture and content of that opening verse form the basis upon which Brahms Brahms’s Requiem was neither about the dead nor constructed the entire Requiem. The re- “ mainder of the work develops, explains, about present comfort for the living. Rather, it was and illuminates the full meaning of this about the need to grieve patiently while looking declaration. In addition, the structure of this initial sentence recurs in the text forward to the promise of future destiny. of each movement: a sense of longing or a realization of the earthly condition resolves in the affi rmation of heaven as the goal of human destiny. An examina- tion of what comes before and after this “deutsches,” which immediately sets it ritual as understood by the participants: couplet vividly demonstrates Brahms’s 12 apart from Catholic tradition. Yet, a to console, teach and guide the living. It impressive command of the Bible. The German Requiem could be merely a was the participation of the community initial verse of the Beatitudes, “Blessed translation of the Latin Requiem into the that defi ned the funeral; conversely, the are the poor in spirit, for theirs is the 17 vernacular. The addition of “to words funeral itself was directed to the living.” kingdom of heaven,”19 and each couplet of Holy Scripture” draws attention to Brahms was already part of a religious thereafter have the same literary struc- the biblical verses as the material for culture whose funeral rites consoled the ture: present struggle, future blessing. the work and gives that material great bereaved. He did not create the idea The faithful receive no promise that 13 credibility. The use of “scripture alone” of comforting the mourner. This article their current trials will be resolved on (sola scriptura) as the text must have contends that Brahms’s Requiem was earth but are encouraged to persevere 14 resonated with German Lutherans. neither about the dead nor about pres- in this world, knowing that heaven awaits Finally, note that Brahms chooses the ent comfort for the living. Rather, it was those who are affl icted. The Beatitudes indefi nite article, ein. This work repre- about the need to grieve patiently while conclude by encouraging believers to sented his personal ideas about life and looking forward to the promise of future “[r]ejoice and be glad, because great is death, not those of either the Catholic destiny. The contextual analysis of the your reward in heaven.”20 They should or Lutheran Church. It was not the Re- text that Brahms assembled reveals a not expect comfort in this world but quiem but a requiem, one of many that brilliantly conceived and interconnected realize that something greater waits. might be composed. structure offering a universal message of Knowing the surrounding context Most writers contend that by reject- hope for a people in exile. of the Scriptures selected by Brahms is ing the traditional Latin Mass text in favor essential to fully understanding his mes- of biblical texts in German, Brahms in- sage. Throughout the Requiem, Brahms tended to make way for a new idea: that Movement I did not simply exploit individual verses of comforting the living. In fact, a funeral Blessed are those who mourn, for they will to construct his text but referenced the service whose objective was consolation be comforted. overall content of the surrounding con- for the grieving was already common text. Consider the Lord’s Prayer. When 15 practice in the reformed church. Re- —Matthew 5:418 one speaks or hears the words “Our CHORAL JOURNAL Volume 54 Number 11 21 Giving Patient Hope to the Exile Rethinking Brahms’s Requiem Father” within the framework of prayer, entrance—with its tentative, incomplete But the Word of the Lord endures forever. it may not be necessary to complete utterance, “Blessed are”—mimics the the prayer itself to understand all that opening musical gesture: F A B-fl at (Do — I Peter 1:25 is called to mind. In like manner, when Mi Fa) in the soprano with E-fl at in the Brahms uses a single couplet from the alto can be read (and heard) as Sol Ti […] and those the Lord has rescued will Beatitudes, we realize he references the Do in the key of B-fl at. The very fi rst return. They will enter Zion with singing; entire message of perseverance through notes the chorus sings point the listener everlasting joy will crown their heads. suffering and the promise of a future in a new direction, away from present Gladness and joy will overtake them, and reward in heaven. human condition. (Figure 1) Consider- sorrow and sighing will fl ee away. Following the verse from the Beati- ation of the text and its relationship to tudes, Brahms introduces the concept the music in the fi rst movement dis- — Isaiah 35:10 of exile and return with Psalm 126:5- 6. closes a message of hope to Brahms’s This psalm of ascent celebrates Israel’s listeners: This is not our home. We should return to Jerusalem after the Babylonian not expect to fi nd comfort here, but we will The second movement offers further exile and was intended to be sung as rejoice in our eternal homecoming. evidence of Brahms’s profound knowl- one returned to or made a pilgrimage to edge of the scriptures. The initial text Jerusalem—ascending to the homeland from I Peter (“All people are like grass”) city on a hill. Neither the psalmist nor Movement II directly quotes from the second half of Brahms assuage those who mourn but the book of Isaiah, which articulates the promise joy when their exile has ended All people are like grass, and all their glory promised return of the people of Israel and they return to Zion.21 is like the fl owers of the fi eld; the grass to Zion. Similarly, Peter addresses his The musical materials of the open- withers and the fl owers fall. letter to “God’s elect, exiles scattered ing measures also express this idea. The throughout the provinces of Pontus, relentlessly throbbing low F seems di- — 1 Peter 1:24 Galatia, Cappadocia, Asia and Bithynia.”22 rectionless until the E-fl at is added. The When he later admonishes these early dominant sonority this creates has no Be patient, then, brothers and sisters, until Christian communities to “live out your other function in Western tonal music the Lord’s coming. See how the farmer time as foreigners here in reverent but to point away from tonic toward waits for the land to yield its valuable fear,”23 he also references the exiled another tonal center. In the very fi rst crop, patiently waiting for the autumn and Jews in Isaiah. Brahms continues with a moments of the work, Brahms calls spring rains. quotation from the book of James, an- the listener to look past present reality other work of exile literature inscribed toward humankind’s ultimate destiny. — James 5:7 “[t]o the twelve tribes scattered among The motivic cell of the initial choral the nations.”24 Chapter 5 of James’s 22 CHORAL JOURNAL Volume 54 Number 11 letter, from which Brahms selects the 39, understood by nineteenth-century the context of his biblical quotes seems verse, “Be patient, then…,” outlines a list Lutherans to have been written by King to have led him to reject Wisdom 2 in of social injuries committed by the rich David on his deathbed, is a personal favor of Psalm 39. Wisdom 2:1– 5 was and powerful, offering no hope of pres- refl ection on the triviality of life. David unacceptable because it is spoken by 31 ent comfort but instead encouraging concludes the psalm by comparing those reasoning “unsoundly.” Life is patience for the Lord’s coming. himself with his forefathers who were fl eeting, but those who do not think Brahms then repeats the opening strangers in a foreign land: “Hear my rightly respond, saying, “Come, therefore, verse, connecting it with, “But the Word prayer, Lord, listen to my cry for help … let us enjoy the good things that exist, of the Lord endures forever.”25 This I dwell with you as a foreigner, a stranger, and make use of the creation to the full 32 dramatic moment in the music provides as all my ancestors were.”27 as in youth.” This quest for worldly a transition that takes the listener from A comparison of Psalm 39:4–7 with happiness stands in direct opposition present suffering to future joy. The fi nal chapter 2 of the book of Wisdom28, 29 to how Brahms would have his listen- lines of text (“and those the Lord has shows they have an identical message. ers respond. Rather, he opts for Psalm rescued will return”) come from the Brahms could easily have used Wisdom 39 followed by a verse from Wisdom 3 conclusion of chapters 34 and 35 of 2:1– 530 followed by Wisdom 3:1; the that provides the godly understanding of Isaiah, a poetic vision of the destruction resulting text would be essentially the humanity’s mortal condition and offers and future redemption of Israel. The same. But his apparent concern with hope for its future eternal destiny. More- musical depiction of present suffering followed by future joy mirrors as is found in Movement I. Movement III Show me, Lord, my life’s end and the number of my days; let me know how fl eet- ing my life is. You have made my days a mere handbreadth; the span of my years is as nothing before you. Surely everyone Artistic Directors goes around like a mere phantom; … in JUNE 10–16, 2015 vain they rush about, heaping up wealth without knowing whose it will fi nally be. Explore diverse music from around “But now, Lord, what do I look for? My the world while experiencing the hope is in you.” relaxed culture & biodiversity of Costa Rica; visit volcanoes, P a u l C a l d w e l l waterfalls, national parks and Youth Choral — Psalm 39:4–7 Theater of Chicago villages. Rehearsals are interspersed with hikes and zip-lines, wildlife and But the souls of the righteous are in the hanging bridges, all culminating in hand of God and there shall no torment a mountain-top concert experience touch them. together with the national youth 26 choir of Costa Rica. — Wisdom 3:1 Sean Ivory Grand Rapids Symphony The manner in which Brahms as- Festival information: Youth Chorus sembled the text to the third movement cantacostarica.com | [email protected] again demonstrates his remarkable knowledge of the Bible and his ability to weave together verses that explicitly 800 GO WITTE and implicitly preach his message. Psalm CHORAL JOURNAL Volume 54 Number 11 23 Giving Patient Hope to the Exile Rethinking Brahms’s Requiem over, by selecting Psalm 39:4– 7, Brahms invokes the personal prayer of a dying man. Clearly, the context of the verses The verses selected by Brahms call for an alternate and the inferences of that context are “ just as important as the content. interpretation: Humanity longs for something unobtainable on earth and only realized by those Movement IV who dwell in the house of the Lord. How lovely is your dwelling place, Lord Almighty! My soul yearns, even faints, for the courts of the Lord; my heart and my fl esh cry out for the living God… Blessed longs for something unobtainable on earth of the initial musical representation are those who dwell in your house; they are and only realized by those who dwell in the of heaven (mm. 89–108) eliminates ever praising you. house of the Lord. virtually all the expressive markings of Several musical elements support this the opening.35 The beauty of heaven — Psalm 84:1–2, 4 reading. The melody of the introduction is remembered but perceived at a dis- begins on the seventh of a dominant tance, still out of reach. Even the double The Israelites observed three pil- seventh chord set entirely over domi- fugato setting of the fi nal line of the grimage festivals each year. Psalm 84 nant harmony that remains unresolved verse (“They are ever praising you”) is one of the pilgrimage psalms associ- until the initial choral phrase. This melody supports the thesis laid out thus far. The ated with the festival of Sukkot, literally should be heard as an inversion of the shifting accents and hemiolas distort the “booths,” referring to the temporary fi rst choral phrase that follows. (Figure concept of measured (earthly) time and dwellings that Jews are commanded 2) Brahms moves from harmonic in- offer a brief glimpse of eternal praise. to inhabit during the holiday.33 Psalm stability and melodic distortion in the The moment passes all too quickly, 84 reminds the reader that the Jew- introduction to the musical depiction of however, and only the internal longing ish nation wandered in the desert for a stable, uncorrupted image of paradise for heaven remains. (Figure 3) forty years, living in temporary shel- in the fi rst choral statement. Once again, ters, longing for a permanent home text and music encapsulate the central in Zion. Although Musgrave character- message of the Requiem. Movement V izes the psalm as “entirely a song of The pleading nature of the setting Now is your time of grief, but I will see you praise for the state of blessedness,”34 of the second phrase of text (“My soul again and you will rejoice and no one will the verses selected by Brahms call for yearns”) suggests Brahms’s conviction take away your joy. an alternate interpretation that echoes that we are not in our heavenly home the content and form of the opening and that our souls express the grief of — John 16:22 couplet in the fi rst movement: Humanity exile. Immediately following, the return 24 CHORAL JOURNAL Volume 54 Number 11 I have labored only a little, and have found The word comfort is most closely as- to his mother.”37 However, Jan Swafford much rest for myself. sociated with Movement V. Speculation tempers this view in Johannes Brahms: that Brahms wrote the Requiem in mem- A Biography: “Certainly the death of his — Ecclesiasticus 51:2736 ory of his mother originates as early as mother was a catalyst, but the idea went 1875 when Eduard Hanslick wrote in a back some time, maybe as far as the As a mother comforts her child, so I will review: “Brahms is said to have written crisis of Robert Schumann. The basis of comfort you. the work after the death of his tenderly the second movement, ‘All fl esh is grass,’ beloved mother… No son has ever came from the symphony Brahms had — Isaiah 66:13 erected a more beautiful monument sketched … just after Schumann jumped CHORAL JOURNAL Volume 54 Number 11 25 Giving Patient Hope to the Exile Rethinking Brahms’s Requiem into the Rhine. For [Brahms] the com- individual mourner; the identity of the Movement VI memoration in the work would always voice is most strongly associated with a be for both: [his mother], and his tragic mother.”39 An alternative interpretation, The texts of Movements II and VI mentor Schumann. Characteristically, and one supported by an examina- bear a striking structural relationship to Brahms never spoke of the connection tion of the text, holds that the voice of one another. Both follow the pattern of with his mother, and growled when authority is not a mother but Jesus ad- present sorrow contrasted with future anyone asked him about it.”38 dressing the disciples’ anxiety about his joy; when viewed side by side, fascinating In compiling the text of this move- comment: “In a little while you will see linear relationships emerge. As Table 1 ment, Brahms distills an extended me no more, and then after a little while demonstrates, Movement II focuses on passage, John 16:16–32, in which Jesus you will see me.”40 The ideas of the pre- humankind’s current condition, while informs the disciples that they will be vious movements recur here. The dis- Movement VI redefi nes each of the scattered (exiled) but assures them ciples are in Jesus’s presence, then apart verses of Movement II in the context that they will not be alone. Musgrave from his presence, but will return to of that which is to come. For example, maintains that Brahms presents “for the him. This parallels his own experiences. Movement II opens with the idea that fi rst time in the work, a voice of au- He has come from the Father and will all people are like the grass that with- thority speaking comfort directly to the return to the Father (v. 28). Rather than ers. Movement VI begins in a similar vein include John 16:21–24,41 Brahms, with but looks to the future. (“We have no his comprehensive knowledge of the enduring city, but we are looking for the scriptures, selects Ecclesiasticus 51:27,42 city that is to come.”) These two verses which summarizes that same sentiment. could be read consecutively; the second 2014 Phil Mattson Brahms now quotes from Isaiah, “As adds meaning to the fi rst by pointing to- Vocal Jazz/Choral Workshop a mother comforts her child, so I will ward a heavenly future. The second text comfort you.” Contrary to the prevailing of Movement II admonishes patience assertions of nearly every commentator, until the Lord’s return, while the parallel “The BEST including Musgrave, the “I” is not a moth- text of Movement VI describes the result summer er fi gure; rather, the image of a mother of that patience: the last trumpet when workshop comforting her child is a metaphor for “we will all be changed.” I have ever how the living will be comforted in The third section of text in Move- attended!” heaven. The scholarly literature appears ment II marks an important internal to ignore that these words of maternal transition leading to the fi nal lines de- comfort are not sung by the soprano scribing the scene when those whom soloist but chanted by the chorus. Thus the Lord has redeemed fi nally return they affi rm the words of Jesus sung by to Zion. The thesis argued in this article July 28 - August 1, 2014 the soprano. leads to the conclusion that the corre- Augsburg College When viewed as the voice of Jesus sponding section in Movement VI marks rather than a mother, the soprano cre- the ultimate musical and theological Minneapolis, MN ates a connection with the baritone turning point of the entire work. Move- The Phil Mattson Workship is pre- soloist in the third movement. The ment II encouraged faith in the Word, sented to address the musical and baritone sings the words of David, an but Movement VI affi rms the convic- philosophical needs of high school earthly voice, about the inevitability tion that death has no power over the and college teachers, students and of death. His question about life and people of God. This extended passage professional singers. All participants death is answered in this movement by then leads into the fi nal fugue, which are placed in classes and seminars the heavenly voice of Jesus offering the quotes the actual words that those who appropriate to ther level of under- standing. promise of a joyful reunion. Informed by have returned will sing for all eternity. this perspective then, Movement V is not When viewed side by side, these a self-indulgent memorial to Brahms’s two movements summarize Brahms’s To Register or for more info: mother but a voice of heavenly authority message throughout the Requiem. The www.philmattson.com/workshops.cfm answering David’s earthly plea. second movement encourages patience 26 CHORAL JOURNAL Volume 54 Number 11 in humanity’s present condition, while promised by Brahms in every move- tures four beasts and twenty-four elders the sixth outlines the fi nal transforma- ment of the work. who never cease their singing. This begs tion when the living transcend human Consider a fi nal piece of evidence the question: is it mere coincidence that circumstance (dramatically represented to support the argument that Brahms Brahms brings the listener inside this by the sudden shift from C minor to drew from the full context of the verses scene of eternity with a lengthy fugue C major in m. 204) and fi nally arrive at he selected. The vision of eternal praise that has twenty-eight entrances? that scene of eternal joy that has been presented in chapter 4 of Revelation fea- Beller-McKenna posits that “[t]he Table 1 Comparison of Texts of Movements II and VI Movement II Text Movement VI Text Notes All people are like grass, and all their For here we do not have an enduring These two verses could be read con- glory is like the fl owers of the fi eld; city, but are looking for the city that secutively. The second adds meaning the grass withers and the fl owers fall. is to come. to the fi rst by looking forward to that which is to come. —1 Peter 1:24 —Hebrews 13:14 Be patient, then, brothers and sisters, Listen, I tell you a mystery: We Mvt. II did not promise comfort until the Lord’s coming. See how the will not all sleep, but we will all be but encourages patience. Mvt. VI farmer waits for the land to yield its changed—in a fl ash, in the twinkling presents the future reward for that valuable crop, patiently waiting for of an eye, at the last trumpet. For the patience. the autumn and spring rains. trumpet will sound, the dead will be raised imperishable, and we will be — James 5:7 changed. — I Corinthians 15:51– 52 But the Word of the Lord endures Then the saying that is written will Mvt. II encouraged faith in the Word, forever. come true: “Death has been swal- but Mvt. VI affi rms the conviction that lowed up in victory. Where, O Death, death has no power over the people — 1 Peter 1:25 where is your victory? Where, O of God. death, where is your sting? — I Corinthians 15:54 – 55 …and those the Lord has rescued You are worthy, our Lord and God, to Mvt. II promises the return to Zion will return. They will enter Zion receive glory and honor and power, (future redemption) with singing. Mvt. with singing; everlasting joy will for you created all things and by your VI quotes the song of those who have crown their heads. Gladness and joy will they were created and have their returned. This is the fi nal scene of will overtake them, and sorrow and being. eternity and the ultimate goal of hu- sighing will fl ee away. man existence. — Revelation 4:11 —Isaiah 35:10 CHORAL JOURNAL Volume 54 Number 11 27 Giving Patient Hope to the Exile Rethinking Brahms’s Requiem text at the end of the sixth movement has no direct connection to what pre- cedes it but rather provides an utterly TheT fi rst movement commences with a great voice generic hymn of praise to the Lord.”43 A “ contextual analysis convincingly demon- from earth addressing present reality; the fi nal strates that, in fact, this verse fulfi lls the movement begins with a great voice from heaven promise made at the beginning of the defi ning eternity. Together, they outline the journey work. The text Brahms chose places the listener vividly in the promised land of exiled humanity must take from the present to its heaven—the goal of human existence. future home. When understood in the framework provided here, this fi nal fugue is far from “a generic hymn of praise.” Rather, the listener arrives at that place where Brahms has been leading from the chorus, whereas Movement I omits the Conclusion inception of the piece. If there is any violins and keeps the voices in a low source of comfort to be derived from register. Although reminiscent of the Throughout this article, the authors the Requiem, it is in the promise of this opening movement, the character of this have argued that Brahms’s consistent moment. closing movement differs markedly and employment of literature addressed to represents the distance traveled during exiled communities was a conscious the span of the work. strategy. Each movement begins by Movement VII Once more, the context of this fi nal acknowledging humanity’s present suf- verse illustrates the care Brahms took fering and longing and concludes with a Blessed are the dead who die in the Lord in selecting his texts. Earlier, in Revela- song of praise offering assurance of its from now on. “Yes,” says the Spirit, “they tion 14:12, the writer rejoices in the fall future homecoming. Contrary to most will rest from their labor, for their deeds will of Babylon and the redemption of the descriptions, the texts Brahms selected follow them.” exiled people of God and praises the offer no sense of present comfort. “patient endurance on the part of the Rather, they remind the mourner that — Revelation 14:13 people of God who keep his commands humanity’s discomfort results from the and remain faithful to Jesus.” Verse 13 state of separation from God. A people These words obviously look back to continues: “Then I heard a voice from in exile patiently await a joyful homecom- the opening of the Requiem. But now heaven say, ‘Write this: Blessed are the ing in heaven. that the faithful have transcended their dead who die in the Lord from now One fi nal, tantalizing bit of evidence human frame, the similarities between on.’” Contrast this with the introduction supports this thesis. In A Choral Sym- Movements I and VII bring into sharp to the Sermon on the Mount: “Now phony by Brahms?, Christopher Reynolds relief that which is different. As in the when Jesus saw the crowds, he went examines the possibility that a Lutheran fi rst movement, Brahms begins on a up on a mountainside and sat down. chorale forms the basis of the thematic low F with an E-fl at added in the cellos His disciples came to him, and he began material in the Requiem. He makes a in m. 2, but the treatment here differs to teach them. ‘Blessed are those who compelling argument for “Freu dich greatly. An ascending line (an inversion mourn, for they will be comforted.’”44 sehr, o meine Seele” as the best candi- of the traditional “sigh” motive), employ- The fi rst movement commences with a date.45 (Figure 4) The fi rst verse of this ing the full intensity of the entire string great voice from earth addressing pres- chorale corresponds strikingly to the section, replaces the dark brooding of ent reality; the fi nal movement begins ideas expressed in the text assembled the opening. The confi dent, extended with a great voice from heaven defi ning by Brahms: melodic line in the soprano offers full eternity. Together, they outline the jour- assurance and contrasts with the tenta- ney exiled humanity must take from the Rejoice greatly, o my soul, and forget tive questioning of the opening choral present to its future home. all misery and torment entrance. Movement VII emphasizes the upper register of the winds and the 28 CHORAL JOURNAL Volume 54 Number 11 since Christ your Lord calls you from on an implacable drive toward the fu- advance contemporary agendas and this valley of misery! ture joy that awaits grieving humanity. bring earlier works in line with modern A performance that emanates from thinking. Some of these are provocative From affl iction and sorrow you will this conception will avoid the tendency and benefi cial; some are deeply ques- journey to the joy to over sentimentalize the lyric pas- tionable and decidedly anachronistic. sages, especially those of Movements The authors concede that no modern no ear has ever heard that awaits IV and V. On a more specifi c level, this scholar can claim to know the pure you in eternity.46 point of view cannot help but impact intentions of Brahms, but an argument the musical character of the measures based on logical conclusions supported If Reynolds’s supposition is true that the quoted in Figures 1 and 2 and a myriad by documentary evidence should not be entire work emanates from this tune, of other passages in which Brahms’s casually dismissed—even if it fl ies in the then Brahms himself, by using the tune music reinforces the ideas expressed face of received opinion. to reference the fi rst verse of the cho- in his texts. This contextual analysis can rale text, summarizes in yet one more also infl uence the singers. For example, way the Requiem’s overarching theme of understanding the third movement as NOTES patience in our exile journey to heaven. the words of the dying King David can This analysis can have a meaningful guide the baritone in his choice of vo- 1 Karl Geiringer, Johannes Brahms, http://www. impact on conductors, performers, and cal colors. Similarly, the soprano who britannica.com/EBchecked/topic/77209/ audience members. Comfort for the recognizes that she sings the words of Johannes-Brahms (accessed July 1, 2013). 2 living is, for some, a rather static and Jesus offering future comfort may make Michael Musgrave, Brahms: A German narrow concept, but the conductor different choices than one who believes Requiem (Cambridge: Press Syndicate of the University of Cambridge, 1996), 1. informed by the ideas articulated here herself to be a mother giving consola- 3 can shape a performance with a dra- tion to the bereaved. Awareness of the Malcolm MacDonald, Brahms (Oxford: matic arc and a sense of forward motion care with which Brahms constructed the Oxford University Press, 1990), 195–196. from the opening measures through the text and of its interconnected layers of 4 Leonard Van Camp, A Practical Guide for fi nal movement. Far from being generic meaning can engage chorus members in Performing, Teaching, and Singing the hymns of praise, the fugues at the end of a way that the concept of comfort can- Brahms Requiem (Lawson-Gould Music not, motivating them during rehearsals Movements II, III, and IV become a series Publishers, 2002), 2. of internal goals with that of Movement and sustaining and guiding them during 5 Daniel Beller-McKenna, Brahms and the VI as the Requiem’s climax. the performance. German Spirit (Cambridge: Harvard When the fi nal movement is per- In recent times there has been a ten- University Press, 2004), 68. ceived not as a revisiting of the beginning dency by scholars to develop alternative 6 Beller-McKenna, Brahms and the German but as the fulfi llment of the promised readings of canonical compositions. In Spirit, 37. return from exile, the entire work takes many cases, these new interpretations CHORAL JOURNAL Volume 54 Number 11 29 Giving Patient Hope to the Exile Rethinking Brahms’s Requiem 7 Rudolf von der Leyen, Johannes Brahms als forced Lutheran reformers to create a trans., 3 vols., [Minneapolis: Fortress Mensch und Freund (Düsseldorf: Karl new liturgy and theology of Christian Press, 1985-1993], 98.) Robert Langeweische, 1905), 31–32. burial,” 83. 29 The pattern of choosing texts addressed to 8 Musgrave, Brahms: A German Requiem, 10. 17 Koslofsky, The Reformation of the Dead, 106. believers in exile continues. The Wisdom 9 Styra Avins, Johannes Brahms Life and Letters 18 Unless otherwise noted, all biblical of Solomon was written in Greek but (Oxford: Oxford University Press, 1997), quotations come from The Holy Bible, in the style of Hebrew poetry and was 358. New International Version®, NIV® created by the exile Jewish community 10 Pamela D. J. McDermott, “The Requiem Copyright© 1973, 1978, 1984, 2011 by in Greece to encourage patience as they Reinvented: Brahms’s Ein deutches Biblica, Inc.® Used by permission. All awaited their Messiah. Requiem and the Transformation from rights reserved worldwide. 30 “For they reasoned unsoundly, saying to Literal to Symbolic” (PhD Thesis, 19 Matthew 5:3 themselves, ‘Short and sorrowful is our University of North Carolina at 20 Matthew 5:12 life, and there is no remedy when a Greensboro, 2010) 9. 21 Zion and Jerusalem have a dual meaning life comes to its end, and no one has 11 McDermott, “The Requiem Reinvented,” in the Judeo-Christian faith. “But you been known to return from Hades. For 17–18. McDermott gives several have come to Mount Zion, to the we were born by mere chance, and examples of Brahms’s typical city of the living God, the heavenly hereafter we shall be as though we had nomenclature, which simply used the Jerusalem.” (Hebrews 12:22) Allusions never been, for the breath in our nostrils genre and number: Piano Concerto in the Old and New Testaments to Zion is smoke, and reason is a spark kindled No. 1, Sonata No. 2. Even his choral are understood by Christians to mean by the beating of our hearts; when it works used short titles: Vier Gesänge heaven. is extinguished, the body will turn to (Four Songs). “Ein deutches Requiem, 22 1 Peter 1:1 ashes, and the spirit will dissolve like nach Worten der heilegen Schrift is a 23 1 Peter 1:17 empty air. Our name will be forgotten signifi cantly longer title than virtually all 24 James 1:1 in time, and no one will remember our of Brahms’s other titles to date.” 25 1 Peter 1:24–25 works; our life will pass away like the 12 Ibid., McDermott explores the importance 26 Revised Standard Version of the Bible, RSV traces of a cloud, and be scattered like of the title and use of the word Requiem. copyright 1952 [2nd edition, 1971] by mist that is chased by the rays of the 13 The Latin Requiem Mass contains very few the Division of Christian Education of sun and overcome by its heat. For our verses directly quoted from the Bible. the National Council of the Churches of allotted time is the passing of a shadow, The text mixes scriptural paraphrases Christ in the United States of America. and there is no return from our death, and allusions, Coptic poetry, and early Used by permission. All rights reserved. because it is sealed up and no one turns Catholic hymn texts and contains 27 Psalm 39:12. Here David references the back.’” (New Revised Standard Version theology inconsistent with the reformed command in Deuteronomy 10:18–19: Bible, copyright© 1989 the Division of church of Germany. “(God) defends the cause of the Christian Education of the National 14 Sola scriptura, a doctrine of the reformed fatherless and the widow, and loves Council of the Churches of Christ in church that holds the Bible as the only the foreigner residing among you…you the United States of America. Used by authority governing Christian doctrine, is are to love those who are foreigners, permission. All rights reserved.) one of the Five Solae that form the basis for you yourselves were foreigners in 31 Wisdom 2:1, RSV. of the Reformation Movement. Egypt.” By calling himself a stranger in a 32 Wisdom 2:6, RSV. 15 Erwin Fahlbusch and Geoffrey William foreign land, David claims the promise 33 Leviticus 23:33 et seq. Bromiley, The Encyclopedia of Christianity: made in Deuteronomy. 34 Musgrave, Brahms: A German Requiem, 20. P–Sh. Volume 4 (Wm. B. Eerdmans 28 The book of Wisdom is in a collection of 35 Max Rudolph, “A Recently Discovered Publishing, 2005), 649. books called the Apocrypha. Part of Composer-Annotated Score 16 Craig M. Koslofsky, The Reformation of the the accepted Catholic canon, most of the Brahms Requiem,” Bach Dead, Death and Ritual in Early Modern Protestants do not consider these books (Reimenschneider Bach Institute) 7, Germany, 1450–1700 (New York: St. biblical. Luther’s 1534 translation of the no. 4 (October 1976): 2–15. Rudolph Martin's Press, INC., 2000). Koslofsky Bible included them with the inscription reports Brahms wrote the word ohne traces the difficulty the nascent “Apocrypha: These Books Are Not Held marked in red over the soprano line reformed church had in reorganizing Equal to the Scriptures, but Are Useful at mm. 90–91. His footnote to this its funeral rites: “The doctrinal changes and Good to Read.” (Martin Brecht, annotation reads “ohne obviously of the Reformation eliminated the Martin Luther: Shaping and Defi ning the indicates ‘without crescendo,’ in contrast theological basis of Christian burial and Reformation, 1521–1532, James L. Schaaf, to the dynamics at the beginning of the 30 CHORAL JOURNAL Volume 54 Number 11 movement,” 13. into the world. So with you: Now is your 44 Matthew 5:1–2, 4 36 RSV. time of grief, but I will see you again and 45 Christopher Reynolds, “A Choral Symphony 37 Constantin Floros, Johannes Brahms, you will rejoice, and no one will take by Brahms?” 19th-Century Music free but alone. Translated by Ernest away your joy. In that day you will no (University of California Press) 9, no. 1 Bernhardt-Kabisch. (Frankfurt am longer ask me anything. Very truly I tell (Summer 1985): 3–25. He also points Main: Internationaler Verlag der you, my Father will give you whatever out that this was the only chorale tune Wissenschaften, 2010), 48. you ask in my name. Until now you have Schumann ever set (12). Many scholars 38 Jan Swafford, Johannes Brahms: A Biography not asked for anything in my name. Ask agree that the death of Schumann was a (New York: Vintage Books, 1997), and you will receive, and your joy will be motivating factor behind Brahms’s desire 297–298. complete.” (John 16: 21–24) to write a Requiem. 39 42 Musgrave, Brahms: A German Requiem, 20. It is believed Jesus was quoting this verse 46 Translation by Francis Browne. Used by 40 John 16:16 when he said, “Come to me, all you who permission from Oron, Aryeh. Freu 41 “A woman giving birth to a child has pain are weary and burdened, and I will give dich sehr, o meine Seele. September 21, because her time has come; but when you rest.” (Matthew 11:28) 2008. http://www.bach-cantatas.com/ 43 her baby is born she forgets the anguish Beller-McKenna, Brahms and the German Texts/Chorale030-Eng3.htm (accessed because of her joy that a child is born Spirit, 91. July 18, 2013). International Journal of Research in Choral Singing THE SCIENTIFIC RESEARCH JOURNAL OF THE AMERICAN CHORAL DIRECTORS ASSOCIATION WWW.ACDA.ORG CHORAL JOURNAL Volume 54 Number 11 31 ŅŠ KASPARS PUTNI A VISION OF DIVERSITY VANCE D. WOLVERTON Vance D. Wolverton Chair Emeritus, Department of Music California State University, Fullerton [email protected] Editor’s Note: This is part two in a series of four interviews from Baltic conductors. The fi rst interview with Estonian conductor Tõnu Kaljuste was published in February 2013 (Choral Journal 53, no. 7). he book In Quest of Answers (1991) edited by Carole Glenn presented a series of interviews with prominent American choral conductors in which each interviewee was asked the same series of questions with the intent to “provide glimpsesT of [the interviewees’] individual philosophies, motivations, and personalities.”1 The author of this article has traveled extensively in the Baltic republics and observed the rehearsals and concerts of numerous distinguished Baltic conductors. The thought occurred that American choral conductors might be interested in how these well-respected Baltic conductors would respond to a similar set of questions as those proposed by Glenn. Conductors in all three Baltic republics—Estonia, Latvia, and Lithuania—willingly participated in the interview process. In this second in a series of articles, the responses of Kaspars Putniņš, distinguished co-conductor of the Latvian Radio Choir, are presented. Kaspars Putniņš has been the co-conductor of the foremost goal has always been to promote outstanding Latvian Radio Choir since 1992. In 1994 he formed the new music. This new repertoire challenges and devel- Latvian Radio Chamber Singers, an ensemble of soloists ops the abilities of his performers and takes their vocal formed from the members of the Latvian Radio Choir. sound to entirely uncharted territories. He has forged He has toured extensively with these groups throughout close relationships with many composers in the Baltic Europe, North America, and the Far East; and regularly States and elsewhere, developing new works while also appears as a guest conductor with leading European choirs exploring new musical language and expression. Putniņš such as the BBC Singers, RIAS Kammerchor, Nether- has initiated several theatrical projects that involve the lands Chamber Choir, Netherlands Radio Choir, Estonian participation of his choir in collaboration with visual and Philharmonic Chamber Choir, SWR Vokalensemble theatrical artists. He records regularly for radio broadcast Stuttgart, NDR Kammerchor, Flemish Radio Choir, and purposes in Latvia and Europe. the Irish National Chamber Choir. While Putniņš’s work The following interview was conducted on October 24, encompasses a wide range of choral repertoire from Re- 2011, in Riga, Latvia. naissance polyphony to works of the Romantic Era, his CHORAL JOURNAL Volume 54 Number 11 33 KASPARS PUTNIŅŠ A VISION OF DIVERSITY Is the Latvian Radio Choir essentially How is the Latvian Radio Choir It is a bit diffi cult for me to talk about an independent entity? funded? these diff erences because I only stepped into this position in 1992. I was with the I would not say that we are totally The choir is primarily funded from choir during the period of reconstruc- independent. We are still part of a the state budget, and we pay some of tion in the 1990s. During that time, state-owned organization called Latvijas our own expenses. We have a certain the choir became much smaller, more Concerts, the most important concert number of productions we are required dynamic, and much more universal in promoter in Latvia, which has two to mount annually, and recordings are comparison to former times. We are domestic ensembles—Sinfonietta Riga included in that package. The programs much more focused on contemporary (full-time chamber orchestra) and the are subject to negotiation between us, repertoire. The Radio Choir has always Radio Choir. We continue to have a Latvian Radio, and Latvijas Concerts. been the instrument for composers strong partnership with Latvian Radio. here. From the beginning, the choir has We still produce recordings for the radio. What would you say are the main commissioned lots of new repertoire, Otherwise, we now feel we are closer changes for the choir since the rees- especially from local composers. Ever to the professional concert organization tablishment of Latvia’s independence since I began working with my colleague than in former times. in 1991? Sigvards Kļava (co-conductor of the Sing it like a native Latin-American and Caribbean Choral Music Barry University in collaboration with the Join us for this six-day choral workshop and Music Institute of the Pontificia Universidad experience the unique repertoire, style, diction, Católica of Santiago, Chile and rhythmic articulation of this genre. The summer program also includes special interest presents the sessions on conducting, vocal pedagogy, and International Choral Music Institute repertoire by guest artists and the Opera Atelier. 2014 Summer Program Final concert July 26, 2014. July 21 – 26, 2014 For choral directors and singers ages 15+. Miami, Florida For more information, visit www.barry.edu/icmi Victor Alarcón Dr. Giselle Elgarresta Rios Guest Conductor Artistic Director 34 CHORAL JOURNAL Volume 54 Number 11 Radio Choir), we have broadened our vi- For example, just now we are collabo- ers, which I founded in 1994, is a subset sion of contemporary music… How the rating with a Danish company, Hotel Pro of the Radio Choir that is involved in choir is an “instrument” in the context of Forma [an international laboratory of recording small ensemble repertoire. today’s music. Also, we have performed visual music performance and installa- a large amount of music by composers tions], on a fully staged performance from other countries. of an experimental work entitled “War Sum Up,” which will have several perfor- Any American composers? mances in Riga and more in Copenhagen. This piece represents a collaboration Yes, John Cage and Morton Feldman, of Latvian composer Santa Ratniece and The Irrepressibles [a “performance among others. “The Art of Performance – The Power of Education” pop orchestra” that is the creation of What is your concert schedule like? the English artist and composer Jamie JUNE HIGHLIGHTS How often do you perform, and are McDermott]. It’s a syncretic project you still broadcasting, or is it only re- wherein the visual aspect is equally im- Sunday, June 8 at 2:00 pm portant to the music. That’s something Stern Auditorium/Perelman Stage cordings that are broadcast? Carnegie Hall we tend to do more often lately… We J. Johnson Bluegrass & Gray: Mostly the recordings are broadcast, involve the choir in collaborative projects Sounds of Americana but quite a few of our concerts are with theatre and visual artists. One of Jefferson Johnson, broadcast…not necessarily live. A signifi - our favorite projects was one in which DCINY Debut Conductor; Barnett: The World Beloved: Dailey & Vincent cant number of our performances are the choir does not appear live but only A Bluegrass Mass documented for the radio. We present through material recorded in the studio. With Grammy-nominated about thirty concerts in Latvia and the The performance involves the audi- Dailey & Vincent same number abroad; in other words, ence wandering in the woods and then Michael Adelson, Guest Conductor sixty to seventy performances annually things happen to them. There are many Purifoy: The Chronicles of Blue (NY Premiere) M. Adelson in addition to our work in the recording electronic eff ects and fi reworks and, of and Gray studio. In terms of programs, that would course, music. I think I can speak for all Saturday, June 14 at 7:00 pm be some twenty-fi ve diff erent programs. of us in saying we really enjoy doing this. Alice Tully Hall, Lincoln Center I believe this group has an adventurous Dream A Better World… In other words, you might sing a pro- nature and a taste for the unknown. Ignite the Spirit! The Lincoln Gospel Choir (MN) gram in Latvia and then sing the same D. Reese Darcy Reese, Director program in multiple venues abroad? Besides more of this type of collabora- tive venture and experimental sorts of Sunday, June 22 at 2:00 pm Yes. There could be specifi c pieces that projects, do you have any other proj- Stern Auditorium/Perelman Stage, Carnegie Hall ects planned for the future? Under the Western Sky we repeat. It’s not that every program Cristian Grases, is performed only once like the BBC DCINY Debut Conductor Singers. It’s seldom that they repeat a We remain what we have always been— Music for Treble Voices perform a Latin American inspired Gloria program, and that’s not the case with us. a professional choral ensemble that is C. Grases (World Premiere) conducted by We try to perform every program more universal at its essence. We will always the composer. than once if there is any possibility to do sing Bach, Renaissance polyphony, and Michael Huff, Director Utah Voices so, for a variety of reasons. It is a practi- nineteenth-century repertoire. We M. Huff cal issue. It costs less to perform several appear in normal concert situations, AUDITION NOW FOR 2015 times rather than investing all that time however in diff erent capacities. In other and eff ort for a single performance. words, “Latvian Radio Choir” may mean Contact us now for ACDA Nevertheless, there are many occasions only four singers on stage for a particular member ticket discounts! when, for special purposes, a program project, but it can also mean eighty sing- 212-707-8566 x 307 is performed only once. With some of ers for a larger, oratorio-type program. [email protected] www.DCINY.org our recent productions, the program has We can be altogether variable in terms #DCINY evolved through several performances. of size. The Latvian Radio Chamber Sing- CHORAL JOURNAL Volume 54 Number 11 35 KASPARS PUTNIŅŠ A VISION OF DIVERSITY Are there about twelve members in tend to return to the same composers don’t do that. That is mostly because the Chamber Singers? repeatedly. The creation process is very the musical circles are not very large intense. We involve them in the rehears- in such a small country. The number of Yes, depending on the repertoire. We al process and, if there is something really music students is not so overwhelming, reshape the ensemble for the reper- novel and hard to predict, we try to fi nd thus we are able to track from an early toire. For example, “Nuits, adieux” by one or two hours for a workshop with age those whom we think might have Kaija Saariaho calls for four singers, “Cinq them. We commission ten to fi fteen new a future with the choir. These are then rechants” by Olivier Messiaen calls for works per year, depending on the scale invited to audition. When we have a twelve singers, and most of the Monte- of the works. large-scale production where we need verdi madrigals require fi ve singers. sixty to seventy singers, we have a list of established singers whom we involve. How is the repertoire selected? PREPARING THE There is, however, a conscious eff ort to involve those youngsters whom we be- We tend to be really universal, and we CHORAL INSTRUMENT lieve could be interesting for our future. love all diff erent kinds of writing for voic- These people are closely observed in the es. That is one of the strategic principles How often does the choir rehearse working situation and, if it is determined we have been following through the and for how long? that they have the potential to become years, and the other is that we consider a full-time member of the choir, and if ourselves a laboratory instrument—a If there are no extra concerts or record- there is the mutual interest from them, “playground,” if you will—for compos- ings, we normally rehearse four times per we involve them in small ensembles. ers. We strive to develop close relation- week. We have Wednesdays free, but on Then they are observed again—how ships with composers not only to create the other weekdays we work from 10:15 they behave and how they feel. Do they new repertoire but also to discover the a.m. to 2:00 p.m. We freed Wednesdays pick up information from the choir? possibilities of what a choir can be. It’s because in the early 1990s, when we How do they respond to the conduc- seldom that we commission only one couldn’t pay singers very much, we tor? Do they demonstrate initiative? Are piece from a composer. We try to return realized we would rather have people they willing to blend? Thus, the young to the same people, including leading whom we pay more per hour and then singers are integrated rather slowly and Latvian composers Peteris Vasks, Arturs release them as much as possible so they gradually. Maskats, Martinš Vilums, Santa Ratniece, can have other jobs and other lives. That Eriks Ešenvalds, and others. That’s prob- idea was started by Eric Ericson and the Is being part of the choir a full-time ably one of the advantages of a small Swedish Radio Choir because of fi nancial position? society. There is the possibility to keep considerations. In the short term, this these relationships alive with most of our practice makes planning more diffi cult. Offi cially it is a full-time position. At the active composers who work well with When there is a change, like when a same time, they have the possibility to the ensemble. They develop their vision concert is cancelled or postponed, it’s a do other things as well. The Radio Choir of us and, somehow through their eyes disaster because people have their other is their main position, so to speak. It is and ears, the choir defi nes itself. This obligations. In the longer term, however, vital for them to understand from the collaboration with our composers has I believe it pays a dividend in that many start that we respect their lives and are played a signifi cant role in creating the of our singers are accomplished choral supportive of their outside activities, sonic identity of the Latvian Radio Choir. conductors and excellent music teachers but at the same time we expect their themselves with thriving careers apart loyalty and commitment. This is espe- But you don’t necessarily have a com- from the Radio Choir. cially important because many of the poser in residence? commissioned pieces are written for How are your singers chosen? specifi c voices. As I mentioned before, No, we don’t really have that institution. most of the commissioned composers If we were in Berlin, where there are two Recruiting new singers is one of the come back repeatedly. Eventually they thousand composers, that would be very most important considerations for every know the ensemble inside out, and they diff erent, and then we would need to do choir. Normally there would be auditions do not write for SATB; rather, they write something like this. However, as I said, we once or twice per year, but we really for Peter and Ieva and Sophie and so on. 36 CHORAL JOURNAL Volume 54 Number 11 They know the voices personally. Often professionals and academics, there is who does Carmen or Don Giovanni on the choir features complex repertoire always this slight tension between singing stage. Those who end up in the choir where each voice has its own task, and if teachers and choir conductors. One who feel somehow like losers or something. someone must be replaced for that pro- goes to the Academy to study singing That’s often how the academic vocalists duction, that is very diffi cult to arrange. normally would like to become someone view the choir. Their approach is quite dif- So, you don’t really audition. Rather, you invite singers and you sort of “groom” the younger singers up through the ranks? Of course we do audition, but we do not announce an open audition every year. When there is someone we want to work with, that person is invited to Luther College welcomes audition. It’s not that somebody told us Jill Wilson Music education that this individual is good and the next at Luther day he’s on stage. We have an audition as coordinator procedure that involves scales, a solo Students interested in piece, and if necessary, sight-singing. teaching music complete for music Luther’s music major with education a K–12 music education Do you fi nd soloists eff ective or inef- minor. They work with fective in a choral situation? Jill Wilson will join Luther College as assistant faculty to tailor practical professor of education and coordinator for teaching experiences I don’t think there is one answer to this music education in fall 2014. Wilson brings wide to fit students’ individual question. Our choir is unusual in that experience in music education. Currently teaching needs. This all happens about 80 percent of the members are at Morningside College and Boston University, in an environment of she also directs the Chancel Choir at First liberal arts learning, with educated choral conductors. They do not multiple quality ensemble have their degrees specifi cally in singing. Presbyterian Church, Sioux City, Iowa; and serves as editor of The Sounding Board, as Society for opportunities. There are some, but normally those Music Teachers Education chair for the Iowa Luther’s choral program who have specialized in solo singing are Music Educator’s Association, as a participant not quite fi tting into our ensemble and, comprises three upper- in the K-16 Summit committee, and as a board class mixed touring I would say, even into our tradition. So member of The South Dakota Chorale. Wilson choirs, two first-year that makes us a bit diff erent from our earned a bachelor of music degree from St. Olaf choirs, and an upper- colleagues elsewhere. Nevertheless, College, a master of music education degree class women’s choir. there are people who are able to per- from the University of Northern Iowa, and a doctor More than 500 singers form a very good solo, and that’s not a of musical arts degree in music education from from these ensembles Boston University. problem. With the professional singers, combine with the college’s the academically trained professional instrumental forces for five annual Christmas at singers, it’s often the case that they have NEARLY 1,000 STUDENT-MUSICIANS Luther performances. not had ensemble experience from study with Luther’s 56-member music faculty, an early age. They realize that for our which includes 4 choral conductors, 15 voice particular ensemble, that instinct is very teachers, and a vocal coach. important. Since the late 1960s/begin- ning of the 1970s in Latvia, thanks to my It all adds up to one of the largest collegiate music professor Imants Kokars (1921–2011), programs in the world! we have this tradition of extremely well-blended choral sound. Everywhere www.luther.edu | 800-4LUTHER I go and whenever I speak with choral CHORAL JOURNAL Volume 54 Number 11 37 KASPARS PUTNIŅŠ A VISION OF DIVERSITY ferent. That’s why collaboration with the good time together, but it’s not that ev- give a little more and shape to Waldis’s singers who are academically trained— ery time someone has a birthday party timbre,” or, “This section should sound because they had the dream to be stars the whole choir is invited. like a choir of baritones,” for instance. of the opera stage, for instance—is not The singers are able to interpret and so easy in our context. I think if you listen Do you have any preferences in terms communicate these ideas. to our group, you will understand what of blend, or is it that you just want I mean. Our sound is more about blend, the sound to be blended within each Do you have a preference in terms of and someone who is a little bit too ego- section? tone quality? tistic in his or her approach to the voice does not fi t in so well. This depends very much on the reper- My preference in tone quality is diversity. toire. Singing Brahms requires one way My preference is diff erent tone qualities Do you feel that it is important to of blending, while singing Rachmaninoff for diff erent literature. The tone qual- communicate with your singers on a requires a diff erent type of blending. ity can be a terrible roar, or it can be nonmusical, social basis? Speaking of Sven-David Sandström or warm and beautiful with some vibrato Xenakis or others… Every composer for Brahms. It can be ice cold, sharp, and Interacting on a social basis is desirable has his/her own style. It is not possible precise as a needle for some contem- to an extent, but that basis is quite dif- to separate blend from other aspects of porary works. ferent in a professional ensemble as music like articulation or timbre. Gener- compared to an amateur group. Ama- ally speaking, the Latvian tradition is very teur choirs are mostly about socializing, much about blending, very much about INVESTIGATING whereas in our choir—during rehearsals a deep awareness of what is happening THE CONDUCTOR and performance—the relationship of around the individual singer and how making music together is a very intimate to adapt and when to take the initiative. process. Even if you work in an offi ce, I There is something profound about the What are the most important musical imagine that people have something in fact that so many of our singers are con- and personal qualifi cations of a suc- common and are friendly and intimate; ductors who feel more responsible for cessful conductor? but here that intimacy is expanded be- the total outcome rather than only their cause of the nature of the work we do. If individual lines. They somehow tend to Well, that’s quite a broad question, isn’t there is a problematic social relationship play with this initiative—taking and giving it? I think this is almost a vulgar general- in the choir, that is awkward. We travel with the group—and we encourage this. ization, but if one is going into the arts, frequently, and I think we have a rather We might say something like, “Egils, you generally speaking, and not only into conducting, one has to have this real and honest passion. I think that is the most important thing. One must really love the game, so to speak, otherwise magine … Sing Where Inspiration Was Born. there is very little chance of success. I I singing in the venues of the great believe it is important that one has a composers, in awe inspiring cathedrals and strong, individual vision of the music charming village churches, one performs. That doesn’t mean that for appreciative audiences around the world. it has to be something terribly unusual, Let us take you there. but it must be very personal. The next topic is how to realize these ideas. Then it’s about professional qualities and hu- man qualities. Professional qualities are mostly predictable—fi rst, knowledge; CULTURAL TOUR CONSULTANTS It Starts With An Idea... and second, manual capability (a level of technique appropriate for express- (866) 499-3799 |www.CulturalTourConsultants.com | [email protected] | 259 E. Michigan Ave., Kalamazoo MI 49007 ing oneself, especially with professional 38 CHORAL JOURNAL Volume 54 Number 11 important music, the music that speaks Our sound is more about blend, and someone of important matters, of existential ques- “ tions, is in a way less important to people who is a little bit too egotistic in his or her because we are growing somewhat dull approach to the voice does not fi t in so well. with the overload of musical information. How did you make music your career? choirs). Because rehearsal periods tend for their initiative. A conductor must to shrink every year due to the expense have conviction and a solid sense of the My path has been straightforward. In this involved, one must develop channels structure of the music. However, at the country we still have the state-owned of communication that transcend long same time, I believe it’s very important to music education system that is multi- verbal explanations of expectations. You leave some space for the individual musi- layered. There are elementary music must make your singers responsive to cians to breathe the spirit of the music schools, then music high schools, and exactly how you behave in front of them into that collaboration. Not only that it’s then the Music Academy. A music school when performing. There must be the the conductor’s job, but that it becomes in Riga that is very specialized, where not ability to persuade and lead, and there the “child” of everyone involved. Then only the so-called “important” subjects are diff erent ways to accomplish these the information goes in circles in the are studied in the morning and music is ideals...sometimes extravagant, other group instead of this to-and-fro with the studied in only in the afternoons, is the times quietly intense as long as there is conductor and back to the choir again. Emīļs Dārziņš Music School (in 1990 the this energy that ties the whole thing to- choir department became the Riga Dom gether. I believe it goes back to the issue Are you aware of any diffi culties that Choir School). In this school, music is re- of passion and confi dence. women conductors may have in a male- ally integrated with the other subjects. oriented profession? For example, you might have mathemat- What one piece of advice would you ics at 8:15; next would be solfege, then history, then music history, then physics, off er to a beginning conductor? Theoretically, I don’t see any problem. and then a piano lesson. The Darziņš While it’s true that there are more male School has an excellent tradition with First, I would advise being involved in conductors in the world, we have some alumni, including Maris Jansons, Misha ensembles and choirs whose conductors very fi ne examples [of female conduc- Maisky, and Gidon Kremer, and it’s also you respect and from whom you want tors] in Latvia. This has always been my alma mater. I started there when I to learn. If it is not possible to be involved the case here, even from the earliest was fi ve years old, and from the age of in an ensemble, at least attend rehearsals generations. six I sang in the choir. and concerts as often as possible and listen to recordings. For the beginner, What aspects of music are of particular I believe it’s important to realize how importance to you at this time in your big the world is and how great is the career? SHARING THE PHILOSOPHY diversity among choral ensembles. My personal opinion is that it is important to I think music is still an important part What are the overall objectives of your have a good chamber music experience of our communication. It is something choral program, or is that evolving all because, in the academic preparation that has been with human beings since the time? of a new choral conductor—unlike in we have existed as a species. Perhaps other musical specialties—it’s rare to because there is so much music around I think it is evolving. I wouldn’t be able to have a chamber music class. My deep us all the time—in the underground, the name a specifi c goal. I believe the ideal conviction is that this is where musical bus, the car, the kitchen, the bathroom, sound lies somewhere in my subcon- communication comes from. I think the the street, and everywhere—we tend to scious. I would not be able to explain, real joy of music making is in the com- deafen ourselves in a way. We are prob- but it’s probably about this idea of munication. So, if you are surrounded by ably losing some of the sensibility to that communication. The ideal representa- good musicians and interesting personali- sonic wonder because it’s so common. tion of the musical idea comes through ties, it’s important to allow them space Maybe that leads also to the fact that the that beautiful choral sound. I have this CHORAL JOURNAL Volume 54 Number 11 39 KASPARS PUTNIŅŠ A VISION OF DIVERSITY “something” implanted somewhere in with their sound but also with their inspiration to try to see not only through my consciousness, although it’s really very physical reaction to what is happening on my own eyes but also through the eyes diffi cult to explain. I think my path is to stage. Everybody who is on stage, in all of my colleagues in the visual arts and somehow fi gure out what it is and how the performance arts, has that element the theater world how we can develop to get closer to that magic moment. It’s of theatricality. There is a theatrical ele- this potential of a singing ensemble on like searching for the better interpreta- ment in a solo cellist on stage. There is stage or in the woods or wherever. tion, the better sound for all diff erent a theatrical element about an orchestral genres, and the creation of new sound conductor on stage. I think there is even What changes in choral philosophy for newly created repertoire. It’s also more of a theatrical quality in someone have you noticed in the past twenty about the vision of the capabilities of singing on stage, fi rst of all because the years or so? the singing instrument, of the ensemble human voice always has an emotional or choir as an instrument. I also believe element in it, but mostly because of the There has been an incredible improve- there is immense theatrical potential fact that we are dealing with a text. We ment in quality. If you listen to recordings with choirs. Western choral culture, as are actors, in a way, if we sing on stage. If made twenty-fi ve years ago (the ones we all know, comes from Greek tragedy, we are not aware of this fact, then there that are considered legendary), you will which was theatrical. In that genre, the is a greater possibility that we are not notice that often nowadays even average choir represents something not only good actors. For me, it is a huge source of choirs are able to produce the same level WELCOME! ANDREW MEGILL This fall, Dr. Andrew Megill joins the faculty of the University of Illinois at Urbana-Champaign as Professor of Conducting and Director of Choral Activities. CHORAL FACULTY Barrington Coleman Ollie Watts Davis Andrew Megill (Begin Fall 2014) Andrea Solya The University of Illinois’ comprehensive degree offerings include advanced degrees in choral music (MM, DMA). Please see our website for complete degree offerings: www.music.illinois.edu 40 CHORAL JOURNAL Volume 54 Number 11 of quality. I believe the technical level of text is really present and the sound is something in our consciousness that we choral singing has grown enormously. My the servant. I think choirs—because of cannot express in any other way. Musi- personal feeling is that choirs, perhaps their mobility, because they don’t have cians like John Cage are not interested in even more than orchestras, have been instruments to carry, and because the emotion or story in music, so what is the able to preserve their unique identi- whole body is involved, including facial sound, then? What makes it magic? What ties. This can be for diff erent reasons. expression—have immense potential as is the subject that we are communicat- One reason might be national or local an instrument. ing? For me there is no way to describe tradition, while another reason might or defi ne it. I believe that music has the be the personality of the conductor If you were to be transported to a new potential for communication in diff erent who shaped the ensemble. That’s prob- frontier or a diff erent planet, what mu- ways and diff erent layers. If we think of ably not something new, but I think it is sic would you take with you and why? the deepest layers, there must be a will- something very beautiful about choirs, ingness to listen and a willingness to trust especially at the professional level. I would take some music that I have and be open for the message. Yes, there known for years and that has no bound- is that possibility, but one needs also to What can choral music express dif- aries in my consciousness. I believe I will contribute by taking a step toward the ferently from instrumental music and always discover something new and communication. vice versa? important for myself in music. That could be “Cinq rechants” by Messiaen, motets Author’s note: On April 7, 2014, Kaspars I believe the voice is the most versa- by Bach, or something wonderful by the Puniņš was named artistic director and tile instrument. The voice has basically Dutch composer Ton de Leeuw. chief conductor of the Estonian Philhar- no boundaries. Thus, the ensemble of monic Chamber Choir. He will offi cially voices as an instrument has an incredible Why is music important to mankind? assume the position in September 2014. variety of possibilities, even more than orchestras. I sometimes meet compos- I don’t think anybody on the planet ers who say they are not very interested would be able to answer this question, NOTES in choirs. Since the 1960s there have because there is no rational reason for been people who have advanced the music making. Is there? For some reason, 1 Carole, Glenn, ed., In Quest of Answers: Interviews process of deconstructing literally every [music] has always been with mankind. I with American Choral Conductors (Hinshaw instrument—I mean really exploring personally believe that this is still a ve- Music, 1991). how far it is possible to diversify the hicle for communication—that there is sound of an instrument. Despite the example of people like Clytus Gottwald in Stuttgart, it’s possible that the choir as an instrument hasn’t really gone through this process yet, at least that is what I hear from some composers. The non- existence of boundaries for the choir @@TimothySharpTimothySharp as an instrument is still a unique idea in the larger musical context, and of course AAmericanmerican CChoralhoral there is always the element of text as an DDirectorsirectors AAssociationssociation infl uence. The text has somehow parted instrumental from choral music in that instrumental music has been given more freedom in a way. There is the possibility for huge diff erences in the way text is approached. It can be used as only pho- netic material, something detached and abstract that the audience is not even capable of understanding. The opposite is the madrigalistic approach where the CHORAL JOURNAL Volume 54 Number 11 41 IINTERNATIONALNTERNATIONAL CCONDUCTORS'ONDUCTORS' EEXCHANGEXCHANGE PPROGRAMROGRAM SSWEDENWEDEN 20152015 CCALLALL FFOROR AAPPLICATIONSPPLICATIONS ACDA is pleased to announce the 2015 International Conductors' Exchange Program (ICEP) with Sweden. ICEP is providing opportunitites for the next generation of choral leaders to represent the United States as ambassadors to the world in the exchange of music, ideas, and cultures. In 2015, ACDA will host fourteen choral conductors from Sweden who will travel to the United States to be official guests at each of the seven division conferences and at the 2015 National Conference in Salt Lake City, Utah. In turn, the Swedish Choral Directors Association (SCDA) will host fourteen US conductors to be official guests at the Scandinavian Choral Convention in Stockholm, Sweden, in October 2015. ICEP Application Deadline: July 11, 2014 To apply online, go to ICEP OBJECTIVES • To create connections between potential leaders of the US choral community with counterparts across the globe. • To forge stronger relationships between the American Choral Directors Association and choral associations around the world. • To raise the visibility and leadership role of the American Choral Directors Association in the global choral community. SELECTION CRITERIA FOR EMERGING CONDUCTORS The ACDA International Conductors Exchange Program Review Committee is charged with the selection of emerging leaders of the choral profession who 1) have not previously had international conducting experience and 2) reflect a high level of excellence as well as a wide diversity of interests. The ICEP Review Committee has developed the following list of criteria. 1) Is a current member of ACDA; 2) Is an active choral conductor in a professional (remunerative) position; 3) Has completed at least a master’s degree; 4) Has served in an elected position at the state level; 5) Has served as a vol- unteer at the state, regional, or national level of ACDA; 6) Their choirs have demonstrated a level of choral excellence worthy of representing ACDA in an international setting, and one that is at least approaching the standard of choirs customarily heard at ACDA division conferences; 7) Demonstrated facility in learning a foreign language and a willing- ness to undertake at least a rudimentary study; 8) Exhibits some level of human understanding, tact, and cross-cultural sensitivity; 9) Minimum of 3 years in their current position and a maximum of 15 years as full time in the profession. 10) Reflect a wide diversity of interests and accomplishments (e.g., church, high school, community, elementary). The ICEP Review Committee will consider a diversity of conductors (i.e., not all from one setting). 42 CHORAL JOURNAL Volume 54 Number 11 2015 ACDA INTERNATIONAL CONDUCTORS’ EXCHANGE PROGRAM APPLICATION FORM APPLICATION DEADLINE – JULY 11, 2014 NAME Last ______First______Middle______ PEERMANENTRMANENT HOOMEME ADDDRESSDRESS City ______State _____ Zip code______ Daytime Phone # (_____)______ Evening Phone # (_____)______ Mobile # (_____)______ E-mail 1 ______ E-mail 2 ______ ACDA Member # ______ Employer ______ Your Title ______ EMMPLOYERPLOYER ADDDRESSDRESS City ______State _____ Zip code ______ SUUPPORTINGPPORTING DOOCUMENTSCUMENTS 1. Statement of Purpose: A forecast of how this experience may impact your work as a conductor and educator. 2. Curriculum Vitae 3. Two Letters of Recommendation (Continued on next page) CHORAL JOURNAL Volume 54 Number 11 43 VVIDEOIDEO SSUBMISSIONUBMISSION GGUIDELINESUIDELINES YouTube Video Submission (Video must be uploaded by 11:59pm, July 11, 2014) VVIDEOIDEO LLENGTHENGTH Recording of Rehearsal of 12-minute minimum to 15-minute maximum RREPERTOIREEPERTOIRE 1. Two selections from different periods. 2. Selections should represent two different languages. 3. Selections should be in contrasting tempo and style. RREHEARSALEHEARSAL 1. The applicant should rehearse the choir in such a way as to focus on gestural communication, rehearsal technique, and the development of the musical product (in much the same manner as a guest conductor in a festival setting). 2. The ICEP Review Committee will place primary value on gestural language and rehearsal technique. 3. The ICEP Review Committee will also place value on mastery of interpretation, appropriate use of language (metaphor, simile, analogy, etc.), and the use of imagination. CCAMERAAMERA ANGLEANGLE 1. The camera angle will show a full frontal view of the applicant and all conducting movements. 2. The choral sound and comments of the applicant must be clearly audible on the video recording. 3. The applicant will begin each selection by announcing the title and composer of the work to be presented. FFORMATORMAT & DURATIONDURATION 1. The video recorded selections will be presented consecutively without stopping between selections. 2. The video recording will not be edited in any manner. 3. The video recording will show the applicant conducting and rehearsing for a minimum of twelve minutes and a maximum of fifteen minutes. 4. The time should be divided equally between the two selections. 44 CHORAL JOURNAL Volume 54 Number 11 URL of the uploaded audition video: ______(It is the applicant’s responsibility to ensure the accuracy of this information.) VIIDEODEO SUUBMISSIONBMISSION INNFORMATIONFORMATION Date of taping ______Location:______ Name of Choir ______ Composition 1 Composer ______ Title ______ Notes ______ Composition 2 Composer ______ Title ______ Notes ______ With my signature below, I certify that I have read, understand fully, and accept the regulations for participation in the ACDA International Conductors’ Exchange Program and that all statements made on this form are factual. Signature ______ Date ______ ICEP Application Form must be completed by July 11, 2014. Hard copies of the Application Form, Letters of Recomendation, Statement of Purpose, and CV must be postmarked by Friday, July 11, 2014. Please send to: T. J. Harper , Director, ACDA International Conductors' Exchange Program, Department of Music, Providence College, 1 Cunningham Sq., Providence, RI, 02918 CHORAL JOURNAL Volume 54 Number 11 45 Help grow new choral singers and develop new choral conductors with a gift to the American Choral Directors Association’s Fund for Tomorrow Your donation to this new fund will help to encourage new children’s choirs, support ACDA student members and chapters, provide national conference scholarships to Honor Choir students, and mentor talented youth into new choral conductors and teachers. With a gift of $1,000 or more, you become a member of the Podium Society, a very special group of people who invest significantly in our programing for children and youth. More information at: www.acda.org/fund4tomorrow Give online or mail your contribution to ACDA, 545 Couch Dr., Oklahoma City, OK 73102-2207. The American Choral Directors Association is a 501(c)3 tax-exempt organization. Your gift to this fund is tax deductible to the extent allowed by law. Choral Directors Are from Mars and Voice Teachers Are from Venus: “Sing from the Diaphragm” and Other Vocal Mistructions Part 2 by Sharon Hansen, Allen Henderson, Scott McCoy, Donald Simonson, and Brenda Smith Editor’s note: Part 1 ran in May 2014. Textual Issues loudly as they possibly can. This hyper- This two-part article is based upon (Allen Henderson, author) diction approach is more appropriate information presented by the five in larger ensembles accompanied by authors in lectures at the 2009 ACDA orchestras, such as symphonic choruses, National Conference in Oklahoma Mistruction #7: and any ensemble performing in wet City, OK; the 2010 NATS National “Enunciate! I want to hear all those acoustics. How about a more specifi c Conference in Salt Lake City, UT; the consonants!” (Hyperdiction/Hypercon- and clear statement such as, “Make sure 2011 ACDA National Conference sonants) your fi nal consonants are clearly articu- in Chicago, IL; and the 2012 ACDA lated and rhythmically energized.” Such Eastern Division Conference in This ambiguous statement leaves a statement should be backed up by a Providence, RI. In these lectures, each of singers wondering if the conductor really conscious system in which your singers the presenters was asked to speak on means every consonant. Final conso- understand the rhythmic context in topics of his/her expertise. This article is a summary of their presentations. nants? Initial consonants? Internal con- which you want them to articulate. The fi rst in the “Choral Directors Are sonants? Many singers respond to this from Mars and Voice Teachers Are from type of generic suggestion by increasing Mistruction #8: Venus” series can be found in the April jaw movement, resulting in a compro- “Write in your music that the A is like 2012 issue of Choral Journal. mise of the purity of the vowel sound. ‘AH’ as in ‘Father.’” (They increase jaw movement rather than increase the use of the articula- Clear diction involves a corporate tors.) They may also overcompensate in understanding of all vowel and conso- other ways, such as with the articulators, nant symbols and how to employ those causing those speech organs to become sounds in a concise, rhythmic context. All Sharon Hansen CHORAL JOURNAL Volume 54 Number 11 47 • It is the internationally recognized and tongue shape for all vowels. Regard- Formant/Resonance Issues standard. ing such a method, Richard Miller states: (Scott McCoy, author) “[P]ernicious is the technique of distort- • It is valuable for high school students ing all the vowels throughout the range to be exposed to it prior to col- by assuming some one ideal mouth Mistruction #10: lege diction courses. and pharynx posture through which all 5 “I want absolutely no vibrato through- vowels must then be produced.” This is out this entire piece.” • It works in both the choral and studio not productive as a method. settings. Berton Coffi n wrote, “There is no For many years, the dominant choral disputing the fact that modifi cation sound paradigm has relied on minimal • It is used successfully by many church of vowels inspires much controversy. or no vibrato, especially in the highest choirs and choirs full of avoca- However, the conviction that modifi - voice parts (this model also is common tional singers. cation of vowels is unnecessary does in solo singing for early music). Often, betray a certain ignorance. It is true that adult women are expected to sing in • It works with various languages. Stu- singers can sing any note on any vowel, a timbre that closely resembles the dents are able to see correlations limited only by the physical boundaries unchanged voice of a boy soprano. This between uses of a particular of their range, but some vowel forms timbral sleight of hand is easily accom- sound in various languages. will have constructive interaction with plished by some singers but poses nearly the vocal cords (aid and amplify their air insurmountable technical challenges for There are many resources available pressures), and other vowel forms will others. When performed incorrectly, for use in voice and choral classrooms, have a diminishing acoustical interaction suppression of vibrato can quickly lead such as IPA wall charts that can be hung (distort and diminish the cords’ air pres- to vocal fatigue and might even trigger on bulletin boards1, online websites for sures). A bad tone fi ghts with itself; that 2 3 the development of laryngeal patholo- transcription , and computer fonts. is, two vibrators interact badly with each gies. But as the great Robert Shaw was The Choral Journal Index lists thirty-fi ve other. For example, in stringed instru- known to say, vibrato should never articles on various aspects of diction; a ments the confl ict is between a string confuse the pitch. He might have been few apply specifi cally to the use of IPA and the resonator; in the organ the speaking specifi cally about choral singing, in the rehearsal. The NATS Journal of confl ict is between the reed and pipe. but the statement is equally applicable Singing has a regular column on diction In the voice, the confl ict is between the 6 to solo singers and instrumentalists. A issues. Additional articles on diction can vocal cords and the vocal tract.” scholarly approach to this issue is de- be accessed by searching the Journal of Vowel modifi cation requires specifi c 4 pendent on the reason minimal vibrato Singing Index. solutions for each voice section. For is desired. Often, it comes in response example, as voices approach their pas- to stylistic considerations; clearly, a Pal- saggio singing the vowel [i], modifi cation estrina motet must be approached with Mistruction #9: is needed toward [I] or in some cases different vocalism than a Verdi opera “Everyone sing a pure [i] vowel.” [E]. Therefore, depending on the voic- aria. However, the physical characteris- ing of a chord, some sections may be tics of the singer whose voice is suited This is not by itself a controversial quite comfortable singing the pure [i] to Palestrina are likely as different from statement unless the sopranos and/or while others will have to modify. The those of a Wagnerian as a virginal is tenors are on a high G or A. This leads sensitive choral conductor will ensure from a modern Steinway, yet we do not us to the discussion of vowel purity/ that their score study includes solutions expect those two instruments to play modifi cation in relation to tessitura. With that ensure singers are able to adjust in all repertoire written for the keyboard. certainty, we can state that one size this manner. Perhaps we should think about singing does not fi t all. Sopranos modify vowels in the same way. differently from tenors. Often teachers In post-Baroque music, vibrato is and choir directors believe it simpler to often seen as the great disrupter of into- instruct their singers to use one mouth nation. Many scholars are unconvinced, 48 CHORAL JOURNAL Volume 54 Number 11 however, that singing in tune is best • Utilize an orchestral approach that Lack of specifi city with these instruc- accomplished with a straight tone; the uses different combinations of tions is a problem. For example, what orchestra of the New York Philharmonic voices for different pieces part of the tongue does one “keep performs with nearly perfect intonation down”? The tip? Middle? Back? Often in spite of the fact that the entire string • Audition the choir then choose the singers depress the tongue when given section employs nearly continuous repertoire! this instruction, which is incorrect. There vibrato. In singing, both choral and solo, simply are no “one size fi ts all” instruc- intonation problems do not result from tions for good singing. No two people vibrato, but they certainly can be made Mistructions #11: share the same body; the breathing worse by bad vibrato, especially if it is “Raise your eyebrows so you will sing method that optimizes singing for one overly wide, too slow, or too fast. The in tune.” might completely stifl e the voice of solution? Sing well. Vibrato problems another. Nowhere is this truer than often can be traced to imbalanced “Drop your jaw.” for resonance. To produce a scale with breath support or excess tension in well-balanced resonance requires subtle the muscles of articulation. When these “Keep your tongue down.” changes to the shape of the vocal tract technical defi ciencies are corrected, the with every change of semitone. Fixing vibrato usually assumes its normal role in the background of vocal timbre. In ensembles, we can encourage singers to produce an easy, free tone; to sing opti- mal vowels; and to listen to and merge with the voices of the other singers. Conductors Workshop Eighteen- to twenty-two-year-old women are not eight-year-old boys. with Rod Eichenberger For some reason, the eight- to twelve- Master Teacher, Conductor, Innovator Choral Professor Emeritus, Florida State University year-old boy sound is prevalent today throughout the American choral psyche, whether collegiate choral ensembles or Workshop Locations A five-day professional development professional. There are inherent prob- workshop for choral conductors at all levels lems with this sound: Alexandria, Virginia July 14-18, 2014 • Tiredness occurs quickly. Cannon Beach, Oregon • Vibrato should never confuse the pitch. (Robert Shaw) Aug.4-8, 2014 • Orchestras manage to play in tune with vibrato and would probably sound out of tune without it. For more information, contact: George Fox University’s What can we do instead of imposing Department of Music no vibrato? 503-554-2620 [email protected] • Verify the vowel Information is also available at • Breathe together choralconductorsworkshop.com 1321 10.13 CHORAL JOURNAL Volume 54 Number 11 49 the vocal tract in an unchanging posi- No matter how hard a singer tries, it freely in its resting position with no tion, whether by holding the jaw open becomes impossible to produce vowel squeeze of the surrounding muscles (the “two fi ngers” or requiring the tongue sounds that have phonetic clarity. The epiglottis might gently fold over into the to lie fl at, is rather like a broken clock: solution is to substitute a vowel that is acoustic stream to narrow the laryngeal time will be correct only twice a day. A acoustically possible to sing. To put this outlet); and 2) the glottis must produce few pitches will resonate well, but most rule in concise terms, between F5 and a sound with suffi cient amplitude in the will not. A5, all vowels quickly merge into [a]. higher harmonics to give them a chance Misunderstandings about resonance, Acknowledging this acoustic fact per- to be boosted by the resonance of Fs. and particularly formants, are rampant mits both intonation and vocal beauty To reduce the impact of Fs, as is often in the singing community, both from to improve. desirable for the sake of a unifi ed choral singing teachers and conductors. This Another common problem is the sound, one or both of these elements is apparent in the dogged pursuit of misapplication of the singer’s formant must be modifi ed: the larynx will be pure vowels when the sung pitch rises (Fs), which is not necessarily ubiquitous elevated and/or the muscles around above about F5. At this point, the pitch in fi ne singing. For Fs to do its job of it tightened; the glottis will be partially (fundamental frequency) is signifi cantly amplifying harmonics in the 2.3– 3.2kHz abducted during phonation, increasing higher than the formants (resonances) range, a couple of things must happen: the spectral slope and attenuating high that are responsible for vowel creation. 1) the larynx must be allowed to fl oat harmonics (but also adding shear forces IRELANDThe Rhythms of One World 2015 Intenational Choral Festival MIND-BLOWING ADVENTURES LIFE-CHANGING CULTURAL EXCHANGE EXPERIENCES GREAT PERFORMANCES YOU WON’T FORGET! PERFORM AT THE INEC KILLARNEY AND THE NATIONAL CONCERT HALL, DUBLIN JANUARY 12-19, 2015 KILLARNEY DUBLIN BELFAST The Rhythms of One World 2015 International Choral Festival: Ireland is organized by Friendship Ambassadors Foundation, with the support of Tourism Ireland New York In partnership with the Royal Irish Academy of Music and the Association of Irish Choirs Apply now! Email [email protected] Or call 1-800-526-2908. www.RhythmsofOneWorld.org 50 CHORAL JOURNAL Volume 54 Number 11 to vocal fold oscillation, which can lead Mistruction #13: “Singing the hymns for Sunday is a good to injury). “We will have a rehearsal Friday evening way to warm up. Once everyone has New choral traditions, especially in from 7–9, Saturday from 10–12 and arrived, we can cut right to the anthems.” the Scandinavian and European models, then a dress rehearsal with orchestra often speak to embracing, rather than from 1–3, and our concert will start There are numerous problems with attenuating, Fs. The acoustic spectrum of at 4.” the commonplace, highly rhythmic such ensembles—determined through a warm-ups that allow no time for low, process of spectrum averaging—does in This sort of schedule is not uncom- effi cient breath. Often, the conductor fact show a bloom of acoustic energy in mon, but overuse is abuse. Even under is seated at the piano, playing virtuosic, the singer’s formant region, much as is ideal circumstances and employing fault- melismatic 123454321 scales higher and seen in a solo voice. However, the ener- less technique, too much singing can be higher for warm-ups without knowledge gy in that region falls off by >20dB from harmful. Imagine running a marathon on of what that particular warm-up is de- the peak intensity at lower frequency. In Friday evening to prepare for another signed to do. In the college or university solo singers, this attenuation at Fs also marathon on Saturday. In addition, we setting, it is also counterproductive to occurs but is usually only about 10dB must remember that we are working have graduate students, who may know and can be even less. Consider instead with young voices that often are at little vocal pedagogy and therefore have saying: “Tune your vowels to optimize their peak in stamina and their ability no idea why they are doing the specifi c clarity and resonance.” to recover. We are instilling rehearsal warm-up they are doing, warming up habits that few will be able to main- the choir. Warm-ups and cooldowns tain in later years. What was taxing at are as necessary to singers as they are Stamina of the Voice Issues eighteen produces slight hoarseness at to athletes. Both are best done unac- twenty-two. That same amount of usage companied, using the piano as an har- (Donald Simonson, author) might create debilitating vocal edema monic support only. Warm-ups adjust at thirty, and at forty might be career the posture of the voice from speech threatening. We must be good stewards to song and center the body, mind, and Mistruction #12: of our student’s gifts. Vocal resources are spirit. Cooldowns assist the voice in “We are going to spend the entire les- fi nite, and all voices are unique. Some returning from a singing posture to one son/rehearsal today singing everything are more robust and others are more for speech. on [du], [di], or [da].” (Pick one!) fragile. Some are more technically devel- Warm-ups need not be longer than oped than others, and some are more fi ve to seven minutes. There should be Prolonged singing on an unvarying mature. What is possible with one voice a goal to any warm-up. Vocal technical vowel creates problems of tension. may be quite impossible with another. In instructions for each exercise should As an athletic endeavor, beautiful sing- very general terms, for most students, be clear. Feedback should be given at ing demands flexible coordination two or more hours of singing per day is each repetition. Effective warm-ups between the muscles and organs of possible. However, we must remember address the vocal technical problems phonation. Repeating a single gesture that singing represents only a portion in the music to be sung. Warm-up over and over stresses those structures of our students’ daily voice use. Again, activities should cover the four basic and inhibits their coordinated function. overuse is abuse. steps toward healthy singing: relaxation, Imagine spending an entire one-hour posture, breathing, and resonance. workout session at the gym performing As stated in Choral Pedagogy, 3rd ed., only squats. Rather than spend the entire “Warm-up procedures should build the lesson/rehearsal singing on [di], choose a Warm-Up / Cooldown Issues vocal instrument by eliminating tension, variety of gestures and do not spend too (Brenda Smith, author) establishing good posture, activating the much time on any single exercise or ges- breathing mechanism, and encouraging ture or in any single range of the voice. healthy tone production.”7 Variety will help balance the instrument Mistruction #14: Because singing demands the mental and develop fl exibility and growth. “Warm-ups take too much rehearsal acumen and physical agility of any ath- time. The choir should come ready to letic activity, relaxation of the mind and sing.” spirit as well as muscles of each singer CHORAL JOURNAL Volume 54 Number 11 51 must be addressed systematically. A tinuing consonants such as [r], [v], or [z]. the conductor “returns” the choir to singer’s posture must be achieved—one Descending patterns that begin slightly a speaking range. The fi nal step in a that balances the body in a position of above the speaking range will awaken cooldown is a lightly sung, sustained buoyant expectancy. For rehearsal pur- the lighter, lyric vocal quality desired. A unison tone or chord in a medium range. poses, a healthy seated posture must be keyboard instrument can be used to This common closure can be a good established.8 To serve as a positive role establish harmonic support. Minimal use time for centering, praising, evaluating, model, the choral conductor should of keyboard support during a warm-up and giving announcements. The choral present with a relaxed but fi rm body period will encourage greater awareness conductor has no musical instrument posture at all times. of vocal sensations and foster better without the choir. The voices are lyric The fi rst step in teaching breath aural skills. Should a choral conductor and fragile. They need the tender care management is the relaxation of the not be able to model vocal exercises of preparation (the warm-up) and a abdominal muscles. The choir should be adequately, a trusted chorister or sing- grateful, wise closing act of benediction invited to exhale fi rst, thus creating the ing teacher could be enlisted for the (cooldown). As the custodian of voices, need for a comfortable, deep inhalation assignment. understand that preparation and gra- of air. The sensations of resonances can Cooldowns can be very brief (one cious release encourage healthy voice be evoked through patterns involving to two minutes). Using descending use. sighing, humming, lip trills, or voiced con- glides (lip trills/ humming/a single vowel), Crescent City Choral Festival A FESTIVAL FOR TREBLE AND MIXED CHOIRS – 2015 Cheryl Dupont, Artistic Director 2015 – June 26-30 Guest Artist, Bob Chilcott sponsored by the New Orleans Children’s Chorus s OPEN TO ALL TREBLE AND MIXED CHOIRS REPRESENTING Cheryl SCHOOL CHURCH AND COMMUNITY BY AUDITION Dupont s ACCEPTING APPLICATIONS NOW s PERFORMANCE IN 3T ,OUIS #ATHEDRAL hotel near the French Quarter You’ll fall in love with New Orleans! Bob Chilcott For more information: New Orleans Children’s Chorus 5306 Canal Blvd. New Orleans, LA 70124 (504) 482-2883 Outstanding music-making and great FUN! [email protected] www.neworleanshildrenschorus.org 52 CHORAL JOURNAL Volume 54 Number 11 Conclusion NOTES 5 Richard Miller, “Thinking Phonetically,” The (Allen Henderson, author) NATS Journal (Nov/Dec 1989). 1 IPA Chart, http://www.cafepress.com/ 6 Berton Coffi n and Pierre Delattre, Sounds It is important to acknowledge that cascadilla.14298591 of Singing, 2nd ed. (Metuchen, NJ: voice teachers do not agree amongst 2 The International Phonetic Alphabet, http:// Scarecrow Press, 1987), 45. themselves which is the “best” way to westonruter.github.com/ipa-chart/ 7 Brenda Smith and Robert Sataloff, Choral teach voice, and choral conductors do keyboard/ Pedagogy, 3rd ed. (San Diego, CA: Plural not agree amongst themselves whether 3 Jennifer Smith, “Downloading and Using Publishing, Inc.: 2013), 211. 8 they should even teach voice to their Phonetics Fonts,” http://www.unc. For additional information, see Richard choir. Just acknowledging this simple fact edu/~jlsmith/ipa-fonts.html Norris, “Seating Problems of Vocalists,” 4 can open the doors to communication National Association of Teachers of Singing, in Choral Pedagogy, 3rd ed, Brenda Smith and facilitate cooperative exchange of http://www.nats.org/cgi/page.cgi/about_ and Robert Sataloff (San Diego, CA: ideas. At some level, the basic fundamen- journal_singing.html Plural Publishing, Inc.: 2013), Chapter 8. tals of vocal technique (breath, align- ment, resonance) are the same in both solo and choral singing. Even among instructors holding the most extreme of differing opinions, there is some com- mon ground about the basic functioning www.choralnet.org of the human system. That said, there are RESOURCES AND COMMUNICATIONS varying degrees of understanding about anatomy and function between voice FOR THE GLOBAL CHORAL COMMUNITY teachers as a group, between choral conductors as a group, and between the two groups. It is only through constructive dia- logue and an unwavering commitment to build a common base of understand- ing that we as practitioners can build a unifi ed team that works together to provide an optimal environment in which our singers can fl ourish and develop the ability to adapt to the varying demands placed on them throughout their singing careers. The leadership of both NATS and ACDA are committed to cooperative efforts to provide continuing education for current practitioners as well as advocate for the revision of academic training programs in order to ensure that all of our pedagogy is increasingly fact based. Only by working together can we ef- fectively and unambiguously dispel the myths and mistructions associated with singing in various settings and in a man- ner that is universally validated, applied, and communicated from generation to generation. CHORAL JOURNAL Volume 54 Number 11 53 ACDA NATIONAL HONOR CHOIR INFORMATION 20152015 ACDA NNaati onalonal ConferenceConference FFebruaryebruary 25-28, 20152015 SSaltalt LakeLake City, UtahUtah 2015 ACDA NATIONAL HONOR CHOIR CONDUCTORS ANGELA BROEKER, Director of Choral Acti viti es at the University of St. Thomas, will conduct the Children’s Honor Choir. Children with unchanged treble voices in grades 4-9 are eligible to auditi on for this SSAA choir. All auditi onees must be sponsored by an ACDA member. Students in grades 6-9 must choose only one choir (Children or Middle School/Junior High) for which to auditi on. BOB CHILCOTT, Principal Guest Conductor of the BBC Singers, will conduct the Middle School/ Junior High School Boys Honor Choir. Changed and unchanged boys in grades 6-9 are eligible to auditi on for this SATB choir. All auditi onees must be sponsored by an ACDA member. ELENA SHARKOVA, Arti sti c Director of the Cantabile Youth Singers and Chorus Master of the Symphony Silicon Valley, will conduct the Middle School/Junior High School Girls Honor Choir. Females in grades 6-9 are eligible to auditi on for this SSAA choir. All auditi onees must be spon- sored by an ACDA member. ANDRÉ J. THOMAS, Director of Choral Acti viti es and Professor of Choral Music Educati on at the Florida State University, will conduct the High School Mixed Honor Choir. High School stu- dents in grades 10-12 are eligible to auditi on for this SSAATTBB choir. All auditi onees must be sponsored by an ACDA member. CRISTIAN GRASES, Assistant Professor of Choral Music at the University of Southern Califor- nia, will conduct the College/University/Community Lati n American Honor Choir. Adults age 18 or over who sing in college, university, or community choirs are eligible to auditi on for this SSAATTBB choir. All auditi onees must be sponsored by an ACDA member. ACDA members may sponsor themselves. 54 CHORAL JOURNAL Volume 54 Number 11 ACDA NATIONAL HONOR CHOIR INFORMATION 20152015 ACDA NNaati onalonal ConferenceConference FebruaryFebruary 25-28, 20152015 SSaltalt LakeLake City, UtahUtah WHY AUDITION FOR AN ACDA NATIONAL HONOR CHOIR? Singing in an honor choir is life changing! There are many wonderful opportuniti es to connect with choral music lovers at all levels. ACDA is the premiere nati onal choral organizati on, so singers come from all over the country to parti cipate. We have fantasti c clinicians who are experts in their craft . You will have the opportunity to rehearse with master conductors and perform choral music at the very highest levels with other fi ne musicians. And, as a bonus for this year only, all members of the Honor Choirs will be able to perform with the Mormon Tabernacle Choir on Saturday evening! WHEN AND WHERE DOES THE ACDA NATIONAL HONOR CHOIR TAKE PLACE? Rehearsals begin on Wednesday, February 25, 2015. If you are accepted, you will be asked to arrive on Tuesday evening, February 24. The Children’s fi nal performance will be on Saturday morning, so they are free to leave on Saturday aft ernoon, unless they wish to parti cipate in the Mormon Tabernacle Choir event on Saturday night. All other fi nal performances occur throughout the day on Saturday, February 28. The conference takes place in Salt Lake City, Utah. WHAT ARE MY FINANCIAL COMMITMENTS? There is a $30 nonrefundable applicati on fee. If you are selected to parti cipate, you will be responsible for hotel lodging at the rehearsal site, travel to Salt Lake City, some meals, and a $125 parti cipati on fee. This fee includes your music, in-town transportati on, and some meals. Parent/chaperones/sponsors must be with you in your hotel and responsible for you at all ti mes outside of rehearsals and performances. Adults in the College/University/Community Lati n American Choir will be responsible for themselves. WHAT IS THE TIMELINE? Complete informati on regarding the auditi on process will be available in next month’s Choral Journal. You will then have September 1–30 to complete your online auditi on. Auditi ons close on September 30. Announcements will be posted online by November 15, along with all relevant informati on and singer forms. Make sure you check online at CHORAL JOURNAL Volume 54 Number 11 55 Estonian Philharmonic Chamber Choir King's Singers The Real Group Mormon Tabernacle Choir Utah Symphony Camerata Vocale Sine Nomine de Cuba The Metropolitan Chorus of Tokyo More to come … Amy Blosser, Editor ebb and fl ow of the community college place students at high risk of dropping TTwwoo-Year-Year CCollegeollege student body and the wide-ranging skill out.4 A quick conversation during an CChoirshoirs level of its students present a consider- audition can reveal these risk factors. Dianna Campbell able challenge to maintaining a healthy When the new freshman tenor with the National R&S Chair collegiate choral program. To reduce the fl awless voice and perfect pitch reveals [email protected] negative impacts of an unpredictable he took a few years off before starting choir roster, the conductor must be college, is enrolled part time, is taking keenly aware of factors that contribute two developmental courses, doesn’t to poor student retention. Improved have a degree goal, and is taking care of Retention Strategies for retention rates, reliable recruitment an ill family member at home, it is time Two-Year College Choirs tactics, and an expectation of excellence to put a retention plan in place. will yield a thriving community college Studies on student retention reveal By Alice Cavanaugh choral program. several key elements necessary in such High turnover is an especially frus- a plan. Students reduce their risk of The following article draws upon trating aspect of directing a community dropping out by: the interest session titled “Recruitment, college choir. It damages group moral, Retention, and Repertoire for Two-Year interrupts the building of a choral tra- • Passing developmental courses College Choirs” presented at the 2013 dition, and turns repertoire selection ACDA National Conference in Dallas. into a leap of faith. To reduce turnover, • Utilizing college support services it is important to recognize why some The outstanding bass abruptly students leave the choir and why others • Having access to a convenient dropped out of school, the tenor section return semester after semester. Identify- course schedule is comprised entirely of new students, ing the risk factors for attrition in general the incoming sopranos have weak musi- and understanding proven methods for • Obtaining fi nancial aid5 cianship skills, the alto section leader left increasing the odds that a student will the choir in order to pick up a second stay in college allows for the creation of • Receiving quality advising6 job to help support her family, and it a model within the choral program that is the beginning of another semester supports retention. • Feeling supported by faculty and directing a community college choir. The Students who are at risk of dropping fellow students7 out are: between the ages of twenty and twenty-four, lack a degree goal, are en- Although the choir director cannot rolled part time, are in their fi rst year of compel a student to pass a develop- Alice Cavanaugh study,1 and have overwhelming demands mental course, he/she can connect the Associate Professor of Music at outside of school.2 Male students and student to academic support services Suffolk County Community College non-Asian minorities are slightly more on campus and can follow up with the and Artist-in-Residence Stony Brook University at risk, as are students who fail three student in the same way an academic Eastern ACDA R&S Chair for “basic skills” courses (reading, math, or advisor does. By adopting the role of 3 2-year College Choirs writing). It should be noted that while advisor, the director creates an environ- [email protected] failing these courses is a risk factor, the ment in which the student feels sup- need for remediation in itself does not ported and encouraged. Auditions or CHORAL JOURNAL Volume 54 Number 11 57 orientation sessions prior to the fi rst The choral program must meet and campus of the college, can build cama- week of school can further build advi- exceed the incoming student’s expecta- raderie faster than a month’s worth of sor/advisee relationships with incoming tions in the fi rst semester in order to rehearsals. students. increase the probability that the student Repertoire factors into the students’ The director can assist in building will return the following semester. subconscious expectations. Students camaraderie and creating a supportive A sense of pride that results from seek to replicate a past experience of environment by introducing students months of hard work, culminating in a learning a new work and successfully with similar interests and seating them successful performance, and the camara- performing it. A constantly fl uctuating next to each other in rehearsal. Having derie born of this group effort must be student body can make repertoire section leaders, a student conductor, fostered. This is a formidable challenge selection harrowing. No matter the skill and/or an awards ceremony at the end when faced with low skill level and high level and number of students, the follow- of the semester creates opportunities turnover. A method for encouraging ing principles apply. for students to feel valued. When choir camaraderie while supporting students traditions are established, incoming with poor skills is a seating chart that • Choose at least one piece on the students instantly understand the ex- promotes collaborative learning. A program that provides a greater pectations and recognize the choir as collaborative learning seating chart, challenge than the students expe- a community. This is doubly important which is temporary and not used for rienced in high school. when the student’s average stay at the the optimal choral sound, places the institution is only four semesters. weakest or smallest section front and • Present repertoire to the choir with Any financial barriers to joining center. It pairs non-readers with read- enthusiasm so that the students choir (arbitrary course fees or fi nancial ers or with students who have a good will rise to meet the challenge penalties for reenrollment) should be aural memory while not isolating strong and feed off the confi dence of the eliminated. The time of day when choir is singers in a sea of weak ones. Returning director. offered must easily fi t into the schedule students should remain near each other, of both students who work forty hours remembering that camaraderie brings • Provide the students with a choral/ a week and students who are parents. students back to the choir. Students’ orchestral experience before they For this reason, rehearsing twice a week interests, backgrounds, or personalities graduate, joining forces with an in the morning in-between a student’s should be considered when assigning outside group if need be. math and English classes may trump the seats, thereby assisting students in form- three-hour evening rehearsal. ing connections with the other choris- • Allow the singers to suggest reper- While it is vital to recognize the ters. An overreliance on community toire. Even if the suggestions never warning signs for students who are at members (not including alumni, faculty, end up on the concert program, risk of dropping out, it is equally impor- and staff) endangers student morale. it sends the message that the stu- tant to examine why other students opt If non-students heavily dominate the dents’ passion for choral music is to return to the choir semester after se- chorus roster, it will potentially water supported and encouraged. mester. The new student comes armed down an experience that is meant to be with a set of expectations formulated by unique to the students of that particular A choral program that provides a his/her past performing ensemble expe- year. That sense of ownership and pride sense of accomplishment, builds bonds riences. Tapping into these expectations brings current students back to the choir between students, and provides new increases the likelihood the student will semester after semester. musical experiences will naturally recruit become a repeat customer in the choir. Off-campus performances increase for itself through word of mouth. One The most crucial of these are: group morale. The logistics of an off- advantage the community college has campus performance can be diffi cult over the four-year university is in re- • Enjoying the company of friends8 with students who have jobs, children, cruiting. At a four-year institution, a choir or transportation issues, and with a member may be the only singer in the • Experiencing a sense of achieve- college’s budgetary restrictions. Allow- freshman class who hails from Rhode ment9 ing the singers to travel together to Island. A community college draws only even the most simple off-campus per- from the county, and therefore there • Appreciating new music and singing10 formance, such as singing at a satellite are likely to be dozens of students com- 58 CHORAL JOURNAL Volume 54 Number 11 ing out of the same high school choral Quality instruction will foster good mu- vancing the choir’s image in the local program. Every incoming singer un- sicianship, private lessons will improve community and online. A YouTube video doubtedly knows another singer on the vocal technique, and testimonies from of a stellar performance instantaneously campus. Contacting students who are successful graduates will inspire. captures the interest of a prospective registered for choir before the semester Macro-recruiting also includes ad- student and promotes the college’s begins is an excellent way to encourage word-of-mouth recruiting in advance of the fi rst rehearsal. Student-to-student recruiting must be reinforced by efforts of the whole college community. Word-of-mouth recruiters include orientation leaders, academic counselors who help new stu- dents register, fi rst-year seminar course instructors, department administrative assistants, campus activities leaders, sight-singing instructors, and theater de- partment professors. An administrative assistant’s casual mention of the college’s choir to a new student is an equally ef- fective recruiting tool in comparison to any social media recruiting technique. Analyzing which recruitment strate- gies are currently producing results (by surveying incoming students to ascertain how they learned of the col- lege’s choir) is an important fi rst step. Equally helpful is investigating how easily a student can access information about the choir with a simple Internet search. Singer-to-singer recruitment and Web searches are examples of micro-recruiting tools. Micro-recruiting includes traditional, eye-catching tactics such as campus posters, social media, orientation announcements, recruitment videos, campus caroling, and fl ash mobs. While micro-recruiting is vital, it must be supported by macro-recruiting. Macro- recruiting is creating prime conditions that will encourage students to join the choir. These include examining the con- venience of the choir’s rehearsal time and addressing registration or fi nancial aid policies that discourage enrollment in the choir. Strengthening the quality of the music major program, if applicable, aids in recruitment. A respected music program will attract talented students. CHORAL JOURNAL Volume 54 Number 11 59 choral program worldwide. College,” Research in Higher Education Research in Higher Education 39 no. 4 Community college choir directors 34 no. 4 (August 1993): 508. (1998): 447. 2 8 are bound to institutions whose student Anthony R. Napoli and Paul M. Wortman, Cecil Adderley, Mary Kennedy, and William bodies are continuously in fl ux. Many of “Psychosocial Factors Related to Berz, “‘A Home Away from Home’: The World of the High School Music their students have challenges one can Retention and Early Departure of Two- Classroom,” Journal of Research in Music barely fathom. Community college choir Year Community College Students,” Research in Higher Education 39 no. 4 Education 51 no. 3 (Autumn 2003): 195. directors must be lighthouses in a 9 (1998): 424. Ibid., 199. stormy sea, identifying and supporting 3 10 John Hylton, “Dimensionality in High School at-risk students. They must insure that Feldman, “Factors Associated with One-Year Retention in a Community College,” 509. Student Participants’ Perceptions of the every barrier to joining chorus is re- 4 Ibid., 508. Meaning of Choral Singing Experience,” moved and, through collaborative learn- 5 David S. Fike and Renea Fike, “Predictors Journal of Research in Music Education 29 ing, a sense of accomplishment and of First-Year Student Retention in the no. 4 (Winter 1981): 301. 11 camaraderie is instilled. No matter who Community College,” Community College For a sample repertoire list from concert walks in the door, the director must be Review 36 no. 2 (2008): 68–88. Academic programs for two-year college choirs, armed with repertoire that will inspire Search Complete, EBSCOhost (accessed visit: Eastern New Mexico University The Eastern New Mexico University (ENMU) Student Chapter recently at- tended the Southwest ACDA Confer- The RAYMOND W. A ccontestontest ccreatedreated iinn aann eeffortffort ence in Little Rock, Arkansas. Being that ttoo promotepromote choralchoral mmusicusic this was an entirely new class of students aandnd eensurensure iitsts ffutureuture bbyy who had never attended an ACDA con- BROCK sshowcasinghowcasing tthehe ttalentalent ooff yyoungoung ference, everyone was a little unsure of Memorial Student Composition Contest ccomposersomposers aacroscross tthehe ccountryountry what to expect. Upon returning home, the consensus was that the original fi re they all had for music education and choral music had been rekindled. The application and contest guidelines are available at Among the many wonderful choirs 60 CHORAL JOURNAL Volume 54 Number 11 Then one student is selected to conduct and lead the rehearsal for fi ve minutes while another plays parts at the piano. After fi ve minutes, other members com- mend and critic the students who led. This activity gives the upperclassmen a chance to help the underclassmen, and the overall environment is encouraging. Our chapter also invites current mu- sic educators in our area to come and present on a topic. We have had pre- sentations on show choirs and musicals, a middle school program, and on how a choir director and her accompanist work together. These presentations continue to make our students think about their future as music educators. Finally, our chapter is organizing an aural skills and piano profi ciencies workshop. This workshop will have two of our own professors work with us and Eastern New Mexico University will include practice tips and information on what the profi ciency test will actually out to the group the most. These en- meetings and ACDA events. With the look like. The K-State student chapter sembles not only impressed the group leadership of an enthusiastic president, is excited about continuing to serve as but opened their eyes to the variety of Molly Chavez, and offi cers Elizabeth Wil- a vital tool to help develop all of our ensembles that they could potentially liams (vice president) and Jeremy Small future music educators. conduct. A portion of the ENMU group (secretary), the group is growing and also met with the pop unaccompanied thriving. Attending the Southwest Little group Pentatonix after their perfor- Rock ACDA Conference motivated the mance. The sensational group shared group and brought a new excitement to Is your student chapter doing in- some of their vocal health tips and of- them about their future as music edu- teresting activities? Email news up- fered an inside look to their arranging cators. The remainder of the semester dates and photos to sfl ansburg@ process. Finally, ENMU students learned will be spent fundraising to provide two acda.org. Updates should be 250 a great deal in the numerous reading ENMU ACDA-sponsored scholarships words or fewer. Include the name sessions (with new music for our librar- to our annual ENMU Choir Camp, for and email address for the person ies!) and great interest sessions through- gifted students in need. we should contact if there are out the week. questions on the information, as During “A Taste of Arkansas”—an well as the name of your college Kansas State University ACDA provided dinner—the group was or university and the city and state surprised when an award for “Outstand- The Kansas State University’s ACDA in which you are located. Space ing Growth in Active Membership” was Student Chapter is striving to be a is limited, but we will publish as awarded to New Mexico. Within the program that encourages, helps, and much as possible - with a prefer- last year, the ENMU chapter of ACDA prepares future music educators. Music ence given to submissions that are has become more active and has added education labs are one way our chapter interesting, creative, and relevant many members to the organization. encourages peers to teach peers. The to other student chapters and the There are now fi fteen music education president selects a piece of music for wider ACDA. students actively participating in weekly the chapter to sight-read at our meeting. CHORAL JOURNAL Volume 54 Number 11 61 Celebrating the world’s best amateur choirs DEKOOR CLOSE HARMONY TUESDAYS 94701 • 4010276026259 LALÁ ALLES HAT SEINE ZEIT DISTRIBUTED BY 94702 • 4010276026761 Prizewinners of Interkultur’s international competitions. AVAILABLE AT: 62 CHORAL JOURNAL Volume 54 Number 11 The Piano in Rehearsal: A Tool or a Crutch? By Richard Sparks Editor’s Note: The following column is a effectively in rehearsal. Having excellent what is happening and your ability to selection that has been adapted from the keyboard skills (or having an expert ac- hear it correctly. If I am striving for “just” author’s weekly series of blogs for the companist) can be a temptation as well intonation and purer thirds,2 I want young conductor. The full series can be found online at CHORAL JOURNAL Volume 54 Number 11 63 First, Eric was a superb pianist with soprano, but also bass lines) to • He would also help the choir hear the a marvelous, light, and “vocal” touch. help keep pitch (but without harmony when it was complicated He almost always played with the una implying tempered intonation)— by playing while they were singing corda (“soft”) pedal down and created often “rocking” an octave back and below and above the choir (bass a transparent, non-percussive sound. He forth to keep the sound going. line and treble chords) but never rarely, if ever, played along with the choir, in the choir’s pitch area. doubling what they did. More typically: • In slow-moving music, he might impro- vise a melody above the choir in • Finally, of course, much of the time • To model for the ensemble, he would shorter notes, so the choir could the choir sang unaccompanied. simply play (normally from memo- hear and feel the pulse. He played only when it was nec- ry) the music (Bach’s Der Geisthilft, essary to help stay in tune or to for example, demonstrating all • If the music was harmonically compli- help with one of the musical issues important parts), saying, “I think cated, he might play something for listed above. it might go like this,” giving a very the choir but almost never exactly complete idea of rhythm, phrasing, what the choir sang. It would be The piano is a notably “unvocal” in- and shape. The piano can demon- a reduction of the harmonic strument, and my comments about Eric’s strate beautifully but only with the content and shifts from chord to beautiful and non-percussive approach right player! chord so the choir could easily to the instrument are incredibly impor- hear it. tant. Too often I have heard a conductor • Ericson would often play a pedal or accompanist give pitches to the choir (usually in the treble, above the with a hard, loud, and percussive sound. Then the conductor wonders why the choir doesn’t sing beautifully! How you or your accompanist plays is vital to cre- ating a beautiful sound…or a poor one. The keyboard in rehearsal is an incredibly helpful tool. Like all tools, however, it has its place. Make sure you Santa Barbara fi nd ways to use it that help the choir (and even more importantly, remember when not to use it!), but neither work Music Publishing against the sound you want to create VISIT SBMP.COM nor become an unnecessary crutch for Create your own Reading Session your choir. - View complete scores while listening to recordings - - Search for Christmas music, or themes like peace, nature or love - NOTES - See New Issues and Preview what’s soon to come - 1 Eric Ericson, Lennart Spongberg, and Gösta Ohlin, Choral Conducting (Walton Music: WEBSITE SPECIALS Hal Leonard Music Publishing, 1983). DVD Collection: $19.95 each CD Collection: $2.00 each 2 Refer to the athor’s blog series for more on intonation: http://richardsparks1. blogspot.com/search/label/Intonation. 64 CHORAL JOURNAL Volume 54 Number 11 JJJJ Herford Prize Julius HHerford PPrize JJulius Herford Prize Julius HHerford PPrize JJulius Herford P Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford P Herford Prize Juliuius HHeerfr orrd PPrize JJuliusus Hererford Pririze Juliuus HHeerfrforo d PPrize Juulius Herford P Herford Prize Juliusus HerfordHerfford PrizePrP ize JuJuliuslil usu HerfordHerford PrizePrir zez JJuliusulliius HerfordHeerford PrizePrizze JJuJulius Herford P Herford Prize JuliJuliusus Herford Prize JuJ Herfordlius Herford Prize Juliu s PrizeHerford Prize JuJulius Herford P Herford Prize Julius Herford Prize Juuliius Herrfof rdd Prizez Julius Herford Prize Julius Herford P Herford Prize Julius Herford Prize JuJuliiuss Herrfof rdr Pririzez Julius Herford Prize JuJ lius Herford P Herford Prize Julius Herford Prize Ju2013lius Herford Prize Julius Herford Prize Julius Herford P Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford P Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford P ius Call for Nominations Herf Julius Herf JuliusTThehe JJuliusulius HHerforderford DDissertationissertation Prize:Prize: Each year the Julius Herford Prize Subcommittee of the Research and Publications CommitteeH erf accepts nominations for the outstanding doctoral terminal research project in choral music. Projects are eligible if they comprise the Juliusprincipal research component of the degree requirements, whether the institution defi nes the project as a “dissertation,” “document,”H erf “thesis,” or “treatise,” etc. Julius Herf When a dissertation may be nominated: The prize name indicates the year in which the relevant doctoral degree was conferred. Dissertations must be nominated in the calendar year following the year in which the degree was conferred. The prize is awarded in the iuscalendar year following the year of nomination. Herf JuliusThe award: The winner will be awarded a $1000 cash prize and a plaque. The committee reserves the right to award two prizes or no Herf prizes in any given year. Julius Herf JuliusNomination Requirements and Procedure: Herf 1. An institution may submit only one document for that year’s prize. In the event that there are two nominations of equal merit from Julius one school, the letter from the dean, director, or chair of the music school (described below) must justify the additional nomination. H erf The submitting faculty member, institution and/or the writer must be currently a member of ACDA in good standing. 2. To nominate a dissertation, send, by US mail: A) A signed letter from the dean, director, or chair of the music school recommending that the dissertation be considered for the Herford prize. (Letters from the chair of the choral area are not acceptable.) The letter must include the following information: the name of the student, the year in which that student’s degree was granted, the full title of the dissertation B) An abstract of the dissertation, from which any material identifying the student or institution has been removed. C) An unbound copy of the dissertation (it may be double-sided). Excepting the title page, any material that identifi es the student or the institution must be excised from the document before it is submitted. D) The full name, title, and contact information for the faculty member making the submission and the full name, current position(s), and contact information for the dissertation’s author (USPS address, email address, and phone number(s)). 3. The dissertation and accompanying materials must be received at the national offi ce (address below) by the date announced below (and in the Choral Journal and on the website). Faxed material will not be accepted. 4. All materials must be submitted together in one envelope. If one or more of these requirements is not met, the dissertation will be eliminated from consideration. Nominations for the 2013 Julius Herford Dissertation Prize must be received between January 1 and June 1, 2014. Note that this deadline is earlier than in previous years. Mail applications to: Craig Gregory, ACDA National Offi ce, 545 Couch Drive, Oklahoma City, OK 73102-2207 phone: 405/232-8161 x 203; e-mail: [email protected] Because good music deserves a strong string section. Our retaining cords are made of fine elastic strands with a woven cover sheath. Long-lasting and never too tight, they hold your scores firmly but without cutting into them. We have folders for choir, band and orchestra, with your choice of strings, three-hole rings or neither. See them and many accessories including stands, lights, tuners and more at musicfolder.com, or ask your music store to order them in for you. Then get ready to perform. Rear hand strap gives you a secure, comfortable grip. Choir RingBinders Band and Orchestra Folders Smart Easel Name/logo imprinting >>`>É1-®ÊÌvÀii\Ê£°nÇÇ°Ó{È°ÇÓxÎÊUÊ/i°ÊEÊ>Ý\ʳ£ÊÈä{°ÇÎΰÎx Paul Salamunovich 1927– 2014 Paul Salamunovich, Grammy-nominated choral Along with conducting almost 1,000 festivals and conductor, passed away on April 3, 2014, at the age workshops around the world, Salamunovich con- of eighty-six. Salamunovich was named music director ducted four consecutive ACDA national conferences emeritus of the Los Angeles Master Chorale upon his and was the 2005 recipient of ACDA’s prestigious retirement in 2001 after ten years as music director. Robert Shaw Award. Salamunovich was highly active He was also assistant conductor of the Roger Wag- in the preparation of choral music for the soundtracks ner Chorale (1953–1977) and director of music at of motion pictures such as “Close Encounters,” “The St. Charles Borromeo Church in North Hollywood, Godfather,” and “True Confessions.” During his tenure California (1949–2009). He held academic positions as music director, he was the inspiration for many at a number of Southern California universities, includ- of the great choral works composed by the Master ing Loyola Marymount University (1964–1990), from Chorale’s Composer in Residence, Morten Lauridsen. which he received an honorary doctorate; USC; and Salamunovich will be remembered for his signature Mount St. Mary’s College. choral sound—beloved for its warmth, richness, and Salamunovich was acknowledged as an expert in beauty—which he was able to achieve no matter the Gregorian chant and has long been recognized for level of the choir he faced. Always committed to his his contributions in the fi eld of sacred music, most service of the church, he scheduled his professional notably receiving a Papal knighthood in the Order of conducting duties so that he could be in the choir St. Gregory the Great from Pope Paul VI in 1969 and a loft at St. Charles every Sunday, with rare exception. Pro Ecclesia et Pontifi ce in 2013, the highest laity award He was deeply devoted his wife, Dottie, and to their from the papacy. fi ve children. CHORAL JOURNAL Volume 54 Number 11 67 68 CHORAL JOURNAL Volume 54 Number 11 David Puderbaugh, Editor [email protected] Brahms: Choral Music maintains a buzzing energy, which helps Terezin Children’s Cantata (2010). The Alto Rhapsody, Ave Maria, Nänie, the phrases remain buoyant and rest- focal point of this recording, Mary Ann Begräbnisgesang, less throughout. Contralto soloist Ewa Joyce-Walter’s Cantata for the Children Schicksalslied, Gesang der Parzen Wolak handles Alto Rhapsody with an of Terezin, is scored for soprano soloist, Warsaw Philharmonic Choir and appropriate pathos, and her even, haunt- large orchestra, and chorus. Orchestra ing vibrato makes it plain to see why Setting seven of the poems found in Antoni Wit, director she is one of Penderecki’s favorite sing- the camp, the Cantata for the Children Ewa Wolak, contralto ers. Gesang der Parzen is the only piece of Terezin begins and ends with several Naxos 8.572694 (2012; 69:54) where Wit does not err on the side of measures of Smetana’s The Moldau; and slow, and it makes this fi nal work seem though the cantata is reminiscent of Polish conductor Antoni Wit, in almost fl ashy in comparison. some of Dominick Argento’s works, it partnership with Naxos, seems to have Perhaps the world did not need is less angular and more harmonically set out to produce defi nitive recordings another recording of these works, but simple. Stylistically, the choral writing not of some of the most profound choral/ the Warsaw Philharmonic Choir’s rich only uses the chordal style of Orlando orchestral music ever written. His 2008 sound is extremely well suited to this Gibbons but also (and more frequently) recording of Karol Szymanowski’s Stabat music, and Maestro Wit’s controlled in- the homophonic strength and heaviness Mater set the gold standard for what it terpretation of Brahms’s langsam proves of Russian Orthodox music. It is true takes to perform that piece. On this new how well these slow tempi can work that this second style may be attributed album, Wit tackles the often-performed, with a large enough chorus. to the Kievan chorus’s interpretation of shorter choral/orchestral works of Jo- the music, but the fact that they achieved hannes Brahms. John Guarente the more lean sound of Gibbons is a As with every recording of these Miami, Florida testament to the ensemble’s fl exibility. works, this weighty track list can be Most of the choral writing is homo- diffi cult to listen to all at once. Naxos phonic in nature and, for the most part, does the right thing in putting some of Mary Ann Joyce-Walter: not harmonically challenging. The hymn- the lighter fare fi rst on the recording, Cantata for the Children of Terezin like texture, moreover, helps solidify the thereby setting the stage for the more King Singers of Kiev clarity of the poetry, which is the focus intense pieces that follow. This ordering Kiev Philharmonic Orchestra of the composition. However, the King also puts a spotlight on the somewhat Robert Ian Winstin, conductor Singers of Kiev have some signifi cant lesser-known Begräbnisgesang, a piece Oxnaya Oleskaya, soprano diffi culties with the pronunciation of Brahms wrote for the late Robert Ravello RR7845 (2012; 50:38) the English translation of the poetry; Schumann. Wit makes no compromises understanding the text is often a chal- regarding tempi on any of the tracks, and There are numerous solo and choral lenge. Their tone, however, is marvelous his slow, reverent pulse is particularly adaptations of the children’s poetry and makes one wish that the poems had effective in this funereal piece. that survived the Terezin concentration been in Russian to get this ensemble’s The Warsaw Philharmonic Choir, camp of World War II, including Charles full fl avor. prepared by Henryk Wojnarowski, pro- Davidson’s I Never Saw Another Butterfl y There are two rather short orchestral duces a tone that is predictably dark but (1968); the Terezin Lieder (2002) by interludes among the nine movements never old or throaty-sounding. Even at Marjan Helms; Oratorio Terezin (2003) of the work, and there is a soprano solo these carefully slow tempi, the chorus by Ruth Fazal; and Robert Convery’s in every piece in which the chorus sings. CHORAL JOURNAL Volume 54 Number 11 69 The choral sopranos are asked to sing choral disc and certainly worth listening Carson Cooman: The Welcome News quite high at a very soft dynamic, while to for its clarity of text and its commit- Choral Music of Carson Cooman the basses have a good deal of fairly low ment to interpreting intense emotions Cambridge Consonance and resonant singing. In addition, then, to with grace and sophistication. Jeffrey Grossman, conductor having a subtle but powerful group of Gothic G-49280 (2012; 65:46) singers (any good college choir could View further study of works associated sing this work), the orchestra would with the Holocaust: Music in Response The Welcome News is a recording of have to have an excellent trumpet player to the Holocaust at Sing For Joy® brings you the best in sacred choral music with performances that eloquently “do the talking,” while concise and thoughtful commentary from host Pastor Bruce Benson EXPLORING BIBLICAL THEMES illuminates the meaning of the texts. WITH THE BEST IN CHORAL MUSIC AND COMMENTARY Visit singforjoy.org to listen online or find your local radio station. Sing For Joy® is produced by St. Olaf College and proudly singforjoy.org sponsored by the American Choral Directors Association. 70 CHORAL JOURNAL Volume 54 Number 11 of Set Me as a Seal to the joyful O Lord, Cooman “thinks about the practicality and girls sings with a clean, strong sound Increase My Faith and the hymn-tune of a setting in terms of performance with only occasionally strained singing Awake, My Heart, Cooman’s mastery of demands, and the music is expressive from the trebles and tenors. After a choral writing is exquisitely displayed in of a specifi c text without ever feeling strong close to the Widor with a thrill- this recording. Church choral conduc- needlessly drawn-out.” ing “Sanctus-Benedictus” and sublime tors will fi nd a wealth of fresh, accessible, The Welcome News is mystical in “Agnus Dei,” the choir demonstrates tonal repertoire in Cooman’s works. the sense that, while harmonically and considerable versatility over the rest of Undoubtedly, the most stunning tonally predictable, the music within is the disc. It handles, with equal assurance, compositions include Surely It Is God still astoundingly pristine. There is an harmonically challenging unaccompanied Who Saves Me, a motet extracted from admirable body of work here, in sheer works, service music that could be dull Cooman’s full-scale oratorio, The Acts of volume and in simple, melodic dexterity. in less capable hands, and several chest- the Apostles (2009); and the haunting O nuts, including Walton’s All this time (of quam mirabilis, based on the writing of Alan Denney Carols for Choirs 2 fame) and Howells’s Hildegard von Bingen. These two works Estes Park, Colorado Te Deum laudamus. Especially welcome exhibit a mastery of lyrical connection are several York Minster-connected between text and well-crafted melody, works by Philip Moore (Master of the demonstrating fl awless infl ection and An Ebor Epiphany Music, 1983–2008) and Richard Sheph- defi nition while somehow bringing new The Choir of York Minster ard (School Headmaster, 1985–2004), illumination to well-known and widely Robert Sharpe, director Shephard’s masterful arrangement for used writings. Regent REGCD391 (2012; 79:55) organ and choir of Richard Strauss’s Die Worth noting are the selections heiligen drei Könige aus Morgenland, in composed for Advent and Christmas. This disc presents the music from particular, and a fearless performance These works are fully capable of being a typical Epiphany Sunday Matins, Eu- of the Magnifi cat in D by George Dyson. additions to standard holiday repertoire, charist, and Evensong service at York’s largely due to their beauty and acces- majestic cathedral. The “day in the life David Rentz sibility. Love Came Down at Christmas is of the York Minster” concept is helped Claremont, California a striking setting of Christina Rossetti’s by the inclusion of repertoire that often poem of the same name. Other beau- does not make it onto Christmas re- tiful works include The Rose Tree Carol, cordings: a Bell and Aisle prayer before Gabriel Jackson, and Others: based on an Alan Hovhaness text, and the Eucharist, a hymn, and several chants Requiem, Motets Kings Are Sleeping, utilizing simple yet and responses. This somewhat quotidian Vasari Singers profound poetry by modern-day hymn service music extends the total dura- Jeremy Backhouse, conductor lyricist Richard Leach. tion of the disc to nearly eighty minutes Naxos 8.573049 (2012; 70:06) The recording concludes with the and ensures that it is best listened to in stunning O Lord, I Will Sing of Your Love segments rather than from beginning Prominent among his British contem- Forever, termed, by the composer, a to end. poraries by reason of a prolifi c output new “coronation anthem” in a style Widor’s Messe à deux choeurs et and engaging style, Gabriel Jackson (b. reminiscent of Handel and Purcell. The deux orgues is the cornerstone of the 1962) is now enjoying much attention anthem employs various biblical texts, Eucharist section, which opens the by some of the nation’s fi nest choirs. including sections of Psalms 89 and 103, recording. Though the double-choir Jackson is a master at turning a memo- a prophecy from the book of Zechariah, and double-organ aspect of the piece rable phrase; a motif or pattern grasps several brief gospel scenes from the life does not come through as clearly as it the listener and is immediately appealing. of Jesus, and closes with an introspective would in person, Sharpe and producer/ His Requiem does not disappoint in this and ironically serene “alleluia.” engineer Gary Cole take great care regard, especially in its hypnotic conclu- Even though the majority of works with dynamic and textural changes to sion. This work is an intriguing blend of recorded would be ideal for worship give the performance a real sense of the traditional movements of the Latin services, all of them are worthy of spaciousness, with a palpable feeling of Mass for the Dead with sources far consideration as concert repertoire. Ac- distance between the two choirs and beyond the conventional canon. What cording to conductor Jeffrey Grossman, organs. The Minster’s choir of men, boys, unites these diverse texts is their shared CHORAL JOURNAL Volume 54 Number 11 71 view of death, not as the end, but “the Rosa Mystica by Bob Chilcott. University. Lesser-known English and gateway to a better world.” As such, this However, the best performance Canadian composers are represented, is a substantial composition that would on this Naxos release is saved for the with Henry Leslie perhaps the only rec- well serve an unaccompanied choir last. This is an extraordinarily power- ognizable name to modern conductors. eager to present a major work that ful account of When David Heard by Settings are based on Mendelssohn’s embraces a wide range of beliefs. Francis Pott. There have been so many choral writing, with an emphasis on The Requiem owes its genesis to Lon- wonderful arrangements of the text al- simple, unaccompanied pieces that are don’s Vasari Singers and their conductor, ready, from Weelkes in the seventeenth through-composed, with alternating Jeremy Backhouse, and it is the Vasaris century to Eric Whitacre in the twenty- homophonic and imitative/polyphonic who give this premiere recording. They fi rst century. However, Pott more than sections. obviously love the work, and Backhouse justifi es his inclusion amid such company The ensemble approaches each judges perfectly the mood and tempo with robust and muscular music that is work with great sensitivity to texture, of each movement. Their performance, a world away from Whitacre’s. Here I dynamics, and phrasing. The title track, though, is not perfect, and one wishes should declare a personal interest in the composed by Ciro Pinsuti (1829–1888), for another “take” here and there. The piece, since it was commissioned for my exemplifi es this through each iteration choral singing is strong, but a strident Saint Louis Chamber Chorus. That aside, of “Good night!” which moves from soprano cuts through the texture now the Vasaris prove to be most eloquent voice to voice in its conclusion. Georgie and then; the soloists are uneven, and interpreters of and advocates for Francis Porgie, which served as the Mendelssohn the Mohican “envoi” spoken over the Pott’s music, and one hopes that they Choir’s encore, is a delightful romp by choral texture at the very end of the continue to champion this brilliant Brit- founder Joseph Gould (1833–1913), work lacks gravitas. The Vasaris provide a ish composer, together with this disc’s with inventive and amusing treatments generally edifying rendition of the work, primary focus, Gabriel Jackson. of the text. Gould’s Jack and Jill was also but theirs cannot be regarded as the Here is a disc worth exploring. The a favorite of contemporary audiences defi nitive performance. There is clearly repertoire is approachable though not and would be appealing to modern room for another recording of the Re- facile, the performances evince convic- audiences as well. quiem, which is testimony to the power tion and sensitive direction, and if, on If you are searching for a different of Jackson’s vision. occasion, the odd voice sticks out, it is style of unaccompanied literature, this The Requiem is complemented by a small price to pay for such fresh in- collection is wonderful. Most would be two unaccompanied motets that cele- terpretations of familiar texts and ideas. great for a good unaccompanied choir brate and commemorate the departed. that wanted a change from madrigal Setting verses from Ecclesiasticus, In All Philip Barnes literature but was not quite ready to sing His Works is a remarkably apposite re- St. Louis, Missouri in German. Unfortunately, the strength membrance of Allan Wicks, Jackson, and of each individual piece on the record- Backhouse’s choirmaster at Canterbury. ing is somewhat diluted by listening to This tribute to a man of advanced years Good Night, Good Night, Beloved! … a collection of seventeen partsongs in is thrown into stark contrast by I Am and other Victorian part songs the same style. The individual works are The Voice Of The Wind, with words writ- VivaVoce more impressive when heard in isolation, ten by Geraldine Atkinson when only Peter Schubert, conductor rather than with the disc’s other works thirteen years old. Eleven years later, ATMA Classique ACD2 2670 in one sitting. VivaVoce’s delightful en- Geraldine died of a sudden illness. Her (2012; 65:28) semble quality lends itself better to early parents commissioned Jackson to create music interpretation but is quite fi ne in this poignant setting of their daughter’s Montreal-based chamber choir Vi- this recording as well. poem. As such, it provides an apposite vaVoce celebrates music from a different companion piece to John Tavener’s Song era of Montreal’s cultural life with this for Athene, a valediction for a deceased collection of English partsongs of the Fred Kiser family friend, which is also heard on this late nineteenth century. Selections come Cedar Rapids, Iowa disc. Here, the Vasaris sing with a tight from the Montreal Mendelssohn Choir, a ensemble and conviction, qualities they choral society active from 1864 to 1894 also demonstrate in the accompanying whose library was donated to McGill 72 CHORAL JOURNAL Volume 54 Number 11 John McCabe: Visions (Choral Music) rich, full, sustained phrases and short, performance notes in the CD notes and BBC Singers quick, abrasive, asymmetric rhythms. He found them to be especially insightful in David Hill, conductor writes in both a lovely contrapuntal style supporting the listener’s understanding Iain Farrington, organ as well as vertical, dynamic, harmonic of the background and specifi c purpose Naxos 8.573053 (2012; 71:46) blocks. As a whole, McCabe draws on for each work’s composition. Regardless darker sonorities, as the music exhibits of one’s reaction to McCabe’s music, the Visions features a varied compilation sharp dissonances and unsettling tonali- BBC Singers, David Hill, and Iain Far- of works solely by British composer John ties with few moments of release. rington deliver the highest level of art- McCabe (b. 1939). Expertly recorded Nearly half of the recording is per- istry in this recording. John McCabe is as by maestro David Hill and the acclaimed formed unaccompanied before the Sing- equally distinguished as a concert pianist BBC Singers, the album highlights a ers are joined by organist Iain Farrington. and recording artist as he is a composer. wide-ranging assortment of genres and Of the fourteen compositions featured His music is published through Novello texts utilized during the composer’s in this album, four are world premiere & Company. nearly fi ve-decade career. The singers recordings: The Lily-White Rose (2009), beautifully handle the drastically con- The Morning Watch (2003), Great Lord Thomas Lerew trasting vocal colors that McCabe calls of Lords (1967), and A Hymne to God Syracuse, New York forth and show great fl exibility as his the Father (1996). This reviewer appre- music alters back and forth between ciated the inclusion of the composer’s An exceptional opportunity for boys and men’s choirs, or individuals to participate in rehearsals and concerts with world-renowned conductors Hirvo Surva and Julian Ackerley. The 8-day festival is headquartered in the cool mountains of Flagstaff with concerts in Flagstaff and Tucson. Hirvo Surva Julian Ackerley Enjoy the many social activities Estonian National National Boychoir including visits to the extraordinary Opera Boys’ Choir Repertoire and Revalia Male Standards Chair Grand Canyon and scenic Sedona. Chamber Choir Make your reservations today. Monday, July 14 through Monday, July 21, 2014 Festival information: International Boys and Men’s Choral Festival 5770 E Pima, Tucson, AZ 85712 . (520) 733-0927 EMAIL: [email protected] www.internationalchoralfestival.com. CHORAL JOURNAL Volume 54 Number 11 73 George Frideric Handel: Messiah can be observed in the opening bars as a slight crescendo on “the mighty Tafelmusik Baroque Orchestra and of the Sinfonia. Baroque characteristics God, the everlasting Father,” and also Chamber Choir abound, including upbeat, dance-like in repetitive declamations that exist in Ivars Taurins, conductor tempos, terraced dynamics, detached the “Hallelujah” Chorus. Their reliable Tafelmusik TMK1016CD2 (2012; long notes, sparse use of vibrato, and intonation is highlighted in chromatic 2:21:33) liberal use of ornamentation and dotted movements such as “Surely He Hath notes. Movements are performed a half Borne Our Griefs” and “Since By Man Founded in 1979, the Toronto-based step lower than modern tuning, and the Came Death.” Though their unity of Tafelmusik Baroque Orchestra has alto section is comprised of an even mix sound meets professional expectations, delighted audiences around the world of male and female voices. there are voices that stick out, especially as specialists in historical performance The twenty-four-voice ensemble during fugal statements such as “And He practice. The Tafelmusik Chamber Choir performs energetically and with clean Shall Purify” and “His Yoke is Easy.” was formed two years later and serves diction throughout the oratorio. The As good as the singers are, the Tafel- as its complement. Much about Tafel- singers ably communicate the text with musik Orchestra is even better. They musik’s realization of Handel’s oratorio subtlety of phrasing and direction, such play with remarkable precision and bril- Be inspired. Be dynamic. Be collaborative. Degrees in choral conducting: Dr. Gregory Gentry Director of Doctor of Musical Arts Choral Studies Master of Music Master of Music Education Bachelor of Music Education Dr. Leila Heil Choral Music Education Degrees in voice performance: Doctor of Musical Arts Performance Certificate Dr. Andrea Ramsey Master of Music Associate Director of Choral Studies Bachelor of Music Beginning Fall 2014 Bachelor of Arts www.colorado.edu/music 74 CHORAL JOURNAL Volume 54 Number 11 liance, enhancing the overall dramatic effect. The soloists’ performances also Honored IS contribute greatly to the quality of this recording. It should be noted that the TO ACCEPT THIS ornamentations and embellishments in this recording are refreshingly new PRESTIGIOUS INVITATION yet appropriate. Such moments create interest in this familiar work without distracting the listener from the dra- matic narrative. The one exception is “The Trumpet Shall Sound,” where baritone Brett Polegato’s decorations seem to serve more as a monument to his impressive vocal skill than any other consideration. The recording quality is commend- able. One seldom notices that it repre- sents a collection of live performances from Koerner Hall. In some instances, however, the soloists and orchestra are slightly out of sync, and there are some momentary intonation issues. The oratorio is also performed with more vigor at the beginning than at the end, suggestive of the inherent demands during a live performance. Some recordings choose to per- form Messiah where each movement is static, monochromatic, and the fate of the risen Christ is already ordained by the performers and offered as a virtuosic celebration of heaven’s gran- deur. Tafelmusik’s recording, instead, presents Messiah as a theatrical work. Taurin’s attention to phrasing, subtlety, and overall dramatic line supports the humanist narrative and excitement arising from the realization of heaven’s promise being fulfi lled on earth. It is this vision that distinguishes Tafelmusik’s from other Messiahs and makes it At the invitation of The Castle Church in Wittenberg, Germany, the Valparaiso worthy of examination. University Chorale, under the direction of Christopher M. Cock, will be the only international choir at the celebration of the 500th anniversary Tobin Sparfeld of the Reformation and the posting of Luther’s 95 theses on Reformation Los Angeles, California Day, October 21, 2017. Musicians at Valpo have the opportunity to perform with ensembles across the country and around the world. To learn about scholarships (up to full tuition) available for musicians, visit valpo.edu/chorale. CHORAL JOURNAL Volume 54 Number 11 75 acfea.com 3HUVRQDO From the beginning, a dedicated ACFEA Tour Manager will work with your group and help you meet your ensemble’s touring goals. We provide skilled handling of all the technical and logistical details; securing the performance opportunities your group needs, and balancing your musical, sightseeing and cultural schedules. “I am always impressed with the accessibility of the ACFEA staff, from planning to implementation. I feel as though ours is the only tour happening - and I know that’s not true.” Deborah DeSantis, Artistic Director Colorado Children’s Chorale Like us on Facebook facebook.com/acfea 800-627-2141 ACFEA Tour Consultants Photos: University of Nebraska-Lincoln Chamber Singers performs in the Lady 110 Third Avenue North, Suite 202 Chapel of Ely Cathedral in England; Northwest Chamber Chorus performs in St. Stephen’s Basilica in Budapest, Hungary; Head Royce Colla Voce with the Edmonds, WA 98020 Oprah Winfrey Leadership Academy School Choir in Henley-on-Klip, www.acfea.com . [email protected] South Africa; Heinz Chapel Choir at Lake Titicaca in Peru CST 2063085-40. WST 600 470 812 Steven Grives, Editor Monotone the sudden rise/and slow relapse/of the setting that can be performed by both J. Michael Saunders (1989: 2012) long multitudinous rain.” It is in this fi rst amateur and professional ensembles. SATB, piano (4’20”) part of the composition that Saunders Most vocal lines are set within a demonstrates his most beautiful word comfortable tessitura for all ages. Minor painting. exceptions occur only if sopranos have The rhythmic infl ection on the fi rst a diffi cult time with F-sharp, or basses line of the stanza accelerates naturally with D. While the accompaniment is as the pitch ascends. The second line repetitive, the pianist will need to be slows rhythmically and descends tonally. rhythmically fl exible, as the 6/8 meter in Finally, he composes the right hand is played simultaneously Santa Barbara Music Publishing, Inc, the word “long” over with a 2/4 meter in the left. Monotone SBMP 1075 an entire measure, can be performed in almost any venue. $1.95 fi nishing with a “multi- It would be a perfect choice for an early e-address: CHORAL JOURNAL Volume 54 Number 11 77 Two Scottish Love Songs: weightless support and color to the sopranos if desired) sing the opening 1. The Gallant Weaver voicing and text. Sensitive alternation theme in unison following a short piano 2. A Red, Red Rose between triple and quadruple meter al- introduction. Ethan McGrath (b. 1990: 2012) lows for organic infl ection of the poem. McGrath’s Two Scottish Love Songs SATB divisi (1. ca. 3’30”; 2. ca. 2’30”) There are four short stanzas: 1. Solo project a deceptive air of simplicity. Their violin accompanied by piano introduces interpretation demands the degree of the melody followed by unaccompanied artistry that comes from singers and soprano solo. 2. SA undergirded with TB accompanists who possess the training humming. The piano and experience needed to have full and violin provide a control over their instruments. Ranges bridge leading to the and tessitura in all parts are modest third verse. 3. An in- and should not present a challenge for timate dialogue with mature high school choirs and beyond. the soprano solo and The most challenging technical aspect violin, with the piano for the choir and soloists is maintaining joining in for the last pitch during several unaccompanied three measures. 4. passages. These alternations in texture The violin is now in dialogue with the are also the key to the vulnerability that SA sections. is so vital to an inspired performance of Colla Voce Music, Inc. The voices build to an expressive these songs. 15-95270, $1.80 climax on the phrase “I love my gallant e-address: 78 CHORAL JOURNAL Volume 54 Number 11 sic_info of the elasticity of tempo and nuance of to a g5 while decreasing in tempo and &cPath=1_8_6&products_id=2773> timbre required. The melodic contour volume. It is poignantly fi tting that the Text: Walt Whitman never strays from fi nal three words of the phrase “and yet the text as it alter- shall mourn with ever returning spring” Composer Ethan McGrath states: nates between 4/4 do indeed return four times in the last “For American composers seeking and 3/2. Set in E-fl at two pages—as if to suggest an inconsol- to write vocal music that evokes our major, the harmoni- able grief. unique heritage, Whitman’s words are a zation is richly con- McGrath’s unaccompanied setting of dream come true. His texts are Ameri- ceived with carefully this notable text is accessible for mature can to the core: plain, bold, free-spirited, placed dissonances high school through university choirs. yet also sentimental and even nostalgic that simply express Sustaining the timbre, intensity, and into- at times. Interestingly, these are essen- grief without being nation for the longer phrases presents a tially the same traits we associate with overly sentimental. McGrath is effective worthy challenge, and the piece is sure the person of Lincoln. My setting of this in his depiction of the “great star” and to reap lasting rewards for the singers small portion of Whitman’s elegy is my the “drooping star in the west”—leading and their audience. own tribute to these two great fi gures to a deep and quiet pool of refl ection in of American history…but also a sort of the words “and thought of him I love.” Gennevieve Brown-Kibble requiem for anyone much loved.” The short verse is repeated, using a Southern Adventist University The opening text, “When lilacs last in more compact statement. Tenors and Collegedale, TN the dooryard bloomed,” is introduced basses introduce the restatement and with an alto solo. It is immediately are joined by the treble voices to proj- Repertoire & Standards: echoed then overlapped by the soprano ect an overfl ow of grief on the word College/University, Community, and alto sections and in turn the full di- “mourn.” Great control is needed here High School visi choir. “Freely and mournfully” are the from the soprano section, especially given performance notes—an indication those who are asked to make the ascent AACDACDA LEADERSHIPLEADERSHIP CONFERENCECONFERENCE JJUNEUNE 5 - 7,7, 20142014 SSALTALT LLAKEAKE CCITY,ITY, UTAHUTAH FFOROR ACDAACDA LEADERSHIPLEADERSHIP CHORAL JOURNAL Volume 54 Number 11 79 RA HO L ✩ C ✩ August 2013 OLUME 54 IINDEXNDEX FFOROR VOLUMEV 54 ✩ June/July 2014 ✩ J L OURNA The Choral Journal: An Index to Volume Fifty-four by Scott W. Dorsey Subject Classifi cation The classifi cation numbers used below correspond to subject headings in all ACDA monographs utilizing bibliographic format, particularly The Choral Journal: An Index to Volumes 1–18 (Monograph No. 3) by Gordon Paine and The Choral Journal: An Index to Volumes 19–32 (Monograph No. 7) by Scott W. Dorsey. Subject classifi cations with no entries for this volume year have been omitted from the listing. “REP.” “BIB.” and “DISC.” are abbreviations for repertoire, bibliography, and discography. A comprehensive index with appropriate annotations and cross-references of all Choral Journal articles from 1979 to 2013 is available to ACDA members online at 1. Choral Composition, Arranging, Editing, and Publishing “Continental Harmony: A Musical Celebration of the Millennium,” by H. G. Young. November 2013, page 22. 2. Composers and Their Choral Music “Missa Dei Filii ZWV 20: An Introduction to the Late Masses of Jan Dismas Zelenka (1679–1745),” by Patricia Corbin. August 2013, page 8. DISC. “Love and Music Are the Last Things to Go: Robert S. Cohen and Herschel Garfein’s Alzheimer’s Stories,” by Bonnie Cutsforth-Huber. August 2013, page 44. “Italian Grandiosity and German Pragmatism: An Analysis of Coexistent Style Traits in ‘Aus der Tiefe ruf ich Herr, zu dir’ (SWV 25) from Heinrich Schütz’s Psalmen Davids of 1619,” by Stacey Garrepy. September 2013, page 8. BIB. “Lost in the Revival: The Sacred Music of Cyril Rootham,” by Clay Price. September 2013, page 34. REP. “Benjamin Britten’s Noye’s Fludde: An Intergenerational Experience for Church Music Programs,” by Joshua Hawkins Nannestad. October 2013, page 8. “Brahms’s Drei Geistliche Chöre,” by Shannon Gravelle. December 2013, page 75. REP. “The Choral Music of Margaret Ruthven Lang (1867–1972),” by Heather Eyerly, Donald George, James Johnston, and Lucy Mauro. February 2014, page 38. REP. “Cuban Choral Music: Historical Development and Modern Infl uences,” by José Rivera. March 2014, page 6. REP. 80 CHORAL JOURNAL Volume 54 Number 11 “Venezuelan Choral Composers of the 20th and 21st Centuries: A Catalogue,” by María Guinand. March 2014, page 18. REP. “Mexican Choral Composers: A Brief History,” by Jorge Cózatl. March 2014, page 42. “Messiah: Freshness in a New Order,” by Tim Sharp. May 2014, page 67. “Giving Patient Hope to the Exile: Rethinking Brahms’s Requiem,” by Jeff rey J. Faux and David C. Rayl. June-July 2014, page 8. “Jean Giles’s Messa des Morts: A Study in Contextual Period Performance,” by Mark Ardrey-Graves. June-July 2014, page 18. BIB. 7. Choral Conducting and Choral Techniques: Rehearsal “Multi-Purpose Images: How to Confuse the Choir,” by Lesa Jacobsen. September 2013, page 24. “iRehearse: The iPad in the Choral Rehearsal,” by Larry Martin. February 2014, page 63. “Putting Singers in Motion: Defi ning and Obtaining Choral Intensity,” by Matthew Potterton. April 2014, page 69. “The Piano in Rehearsal: A Tool or a Crutch?” by Richard Sparks. June-July 2014, page 63. 8. Choral Conducting and Choral Techniques: Vocal Technique, Vocal Production, and Tone “Refuting Misconceptions I: The Use of Vibrato in Choral Singing in the United Kingdom,” by Sarah MacDonald. November 2013, page 47. “Why Do We Sing So Loud? Refl ections on Refl exes that Deceive and Tendencies that Can Harm,” by Tiff any Johnson, Rebecca Sherburn, and Greta Stamper. March 2014, page 57. “Choral Directors Are from Mars and Voice Teachers Are from Venus: ‘Sing from the Diaphragm’ and Other Vocal Mistruc- tions (Part 1),” by Sharon Hansen, Allen Henderson, Scott McCoy, Donald Simonson, and Brenda Smith. May 2014, page 47. “Choral Directors Are from Mars and Voice Teachers Are from Venus: ‘Sing from the Diaphragm’ and Other Vocal Mistruc- tions (Part 2),” by Sharon Hansen, Allen Henderson, Scott McCoy, Donald Simonson, and Brenda Smith. June-July 2014, page 47. 13. Choral Conducting and Choral Techniques: Musicianship “Refuting Misconceptions II: Sight-Reading Ability in English Choirs,” by Sarah MacDonald. February 2014, page 69. 16. Choral Conducting and Choral Techniques: Score Reading and Preparation “Seeing with Your Ears,” by Ryan Chatterton. September 2013, page 61. CHORAL JOURNAL Volume 54 Number 11 81 RA HO L ✩ C ✩ August 2013 OLUME 54 IINDEXNDEX FFOROR VOLUMEV 54 ✩ June/July 2014 ✩ J L OURNA “The Conference Concert Hall in Your Hand,” by Scott W. Dorsey. May 2014, page 79. 19. Discographies “Four Thousand Five Hundred Thirty-Six,” by Scott W. Dorsey. September 2013, page 74. 34. History of Choral Performance, Histories of Choral Organizations, and Biographies of Conductors “Lepzig, Germany: F. Melius Christiansen and the St. Olaf Choir,” by Rod Rothlisberger. August 2013, page 69. BIB. “In Memoriam: Buryl Red (1936–2013).” August 2013, page 74. “In Memoriam: Donald P. Hustad (1918–2013).” September 2013, page 75. “J.W. Donovan’s Tennesseans (1873–1895): A Chronicle of an Infl uential African-American Troup, Their Entrepreneurial Director, and their Music,” by Marvin E. Latimer, Jr. October 2013, page 36. “A Space for That Which Exists in Time,” by Scott W. Dorsey. February 2014, page 35. “In Memoriam: Conrad Susa (1935–2013).” February 2014, page 37. “In Memoriam: David Griggs-Janower (1953–2013).” February 2014, page 61. “Canada’s Choral Music Development,” by Hilary Apfelstadt. March 2014, page 34. “In Memoriam: Paul Salamunovich (1927–2014).” June-July 2014, page 67. 42. History and Analysis of Choral Music: Folk, Pop, Jazz, and Popular “The Complex Ancestry of We Shall Overcome,” by Victor V. Bobetsky. February 2014, page 26. 43. Interviews “In the Footsteps of Bach: An Interview with Georg Christoph Biller,” by Rod Rothlisberger. August 2013, page 34. BIB. “The Conductor as Composer: An Interview with Joan Szymko,” by Debra Spurgeon. December 2013, page 34. REP. “Icon in Sound: An Interview with Sir John Tavener,” by Gregory M. Pysh. May 2014, page 18. “Finland’s YL Male Voice Choir: An Interview with Conductor Pasi Hyökki,” by Jonathan Palant. May 2014, page 61. 82 CHORAL JOURNAL Volume 54 Number 11 “Kaspars Putniņš: A Vision of Diversity,” by Vance D. Wolverton. June-July 2014, page 32. 45. Literature on, and Music for, Various Types of Choruses: Women’s Voices “Treble Repertoire from Latin America and the Caribbean,” by Cristian Grases. August 2013, page 65. “Choral Works for Women by Prominent Canadian Female Composers,” by Hilary Apfelstadt. December 2013, page 6. REP. “Path to Discovery: Programming for Women’s Chorus with Orchestra,” by Amanda Quist. December 2013, page 54. REP. 46. Literature on, and Music for, Various Types of Choruses: Men’s Voices “The Formula for a Healthy Men’s Choir,” by Timothy Peter. March 2014, page 53. 48. Literature on, and Music for, Various Types of Choruses: Middle School, Junior High School, High School and Boychoir “Facilitating Lifelong Success: Teaching Middle School Choristers to Practice,” by Elizabeth Hogan McFarland. April 2014, page 59. 49. Literature on, and Music for, Various Types of Choruses: Junior College, College, and University “Retention Strategies for Two-Year College Choirs,” by Alice Cavanaugh. June-July 2014, page 57. 50. Literature on, and Music for Various Types of Choruses: Community Choir “Community Choirs,” by Ron Sayer. September 2013, page 51. 51. Literature on, and Music for, Various Types of Choruses: Church “The Local Church as Patron of the Arts” by David Kates. September 2013, page 59. “Tailor-Made or Off the Rack?” by Terre Johnson. February 2014, page 56. REP 55. Literature on, and Music for, Various Types of Choruses: Folk, Pop, Jazz, and Popular “What is the Best Vocal Jazz Repertoire?,” by Patrice Madura Ward-Steinman. February 2014, page 53. REP. 57. Educational Techniques and Philosophy “On High Alert: Protecting Our Charges,” by Ann Small. August 2013, page 73. CHORAL JOURNAL Volume 54 Number 11 83 RA HO L ✩ C ✩ August 2013 OLUME 54 IINDEXNDEX FFOROR VOLUMEV 54 ✩ June/July 2014 ✩ J L OURNA “Establishing Peer Mentors: Cultivating Community, Artistry, and Excellence,” by Robyn Lana. September 2013, page 52. “You Want Me to Teach What? The Choral Educator’s Guide to Teaching Outside the ‘Comfort Zone,’” by Kyle Zeuch. April 2014, page 77. “Teaching for Transfer: Developing Critical Thinking Skills with Adolescent Singers,” by Matthew Garrett. May 2014, page 24. 63. Performance Practice, Style, and Interpretation: Romantic “Nineteenth-Century Performance Practice: Reassessing Tradition and Revitalizing Interpretation,” by Deanne Joseph. April 2014, page 18. 66. ACDA Activities and Other Professional News “What Makes a Constitutional Revision Necessary?” by Scott W. Dorsey. September 2013, page 43. “National President-Elect Candidates.” November 2013, page 51. “Special Conference Issue.” January 2014. “Congratulations to Christopher Shepard, the Winner of the 2012 Julius Herford Prize.” January 2014, page 62. “Congratulations to Matthew Emery: Winner of the 2013 Raymond W. Brock Student Composition Contest Competition for His Work, Unto Young Eternity.” February 2014, page 6. “Sing Up! Membership Drive Results,” by Sundra Flansburg. February 2014, page 24. “Constitution and Bylaws of the American Choral Directors Association.” March 2014, page 83. “ACDA Member Wins First-Ever Music Education Grammy.” April 2014, page 30. “Updates from Student Chapters,” by Amanda Quist. April 2014, page 64. “Updates from Student Chapters,” by Amanda Quist. May 2014, page 64. “Updates from Student Chapters,” by Amanda Quist. June-July 2014, page 60. 69. Reference Materials: Bibliographies of Literature on Choral Music “The Little Publication that Could: ACDA Newsletter,” by Scott W. Dorsey. November 2013, page 71. 84 CHORAL JOURNAL Volume 54 Number 11 “Take a Slice to Go,” by Scott W. Dorsey. March 2014, page 71. “The Choral Journal: An Index to Volume Fifty-four,” by Scott W. Dorsey. June-July 2014, page 80. 70. Reference Materials: Bibliographies and Lists of Choral Music “A Unique Treasure: The Latvian Choral Anthology,” by Vance D. Wolverton. November 2013, page 8. REP. 71. Book Reviews Yoga for Singing: A Developmental Tool for Technique and Performance, by Judith E. Carman. Pamela Shannon, reviewer. August 2013, page 75. A Guide to Ospedali Research, by Jane L. Baldauf and Joan Whittemore. Joan Catoni Conlon, reviewer. August 2013, page 75. Conducting Women’s Choirs: Strategies for Success, by Debra Spurgeon. Carroll Gonzo, reviewer. August 2013, page 80. Choral Music: Methods and Materials (second edition), by Barbara A. Brinson and Stephen M. Demorest. Mark Munson, reviewer. September 2013, page 65. From the Stage to the Studio: Musicians become Great Teachers, by Cornelia Watkins and Laurie Scott. Donald Callen Freed, reviewer. September 2013, page 66. A History of Singing, by John Potter and Neil Sorrell. Pamela Shannon, reviewer. September 2013, page 69. Fifth Avenue Famous: The Extraordinary Story of Music at St. Patrick’s Cathedral, by Salvatore Basile. Nelly Matova, reviewer. October 2013, page 53. The Choral Music of Benjamin Britten: A Conductor’s Guide, by Richard Cox. Zach Vreeman, reviewer. October 2013, page 54. Mozart’s Requiem: Reception, Work, Completion, by Simon P. Keefe. Elliot Jones, reviewer. October 2013, page 58. Visions of Excellence: A Dialog with the Finest Directors from the Barbershop Harmony Society, by Joe Cerutti. Scott W. Dorsey, reviewer. November 2013, page 53. The Use of the International Phonetic Alphabet in the Choral Rehearsal, Duane Richard Karna, editor. Ryan Kelly, reviewer. November 2013, page 54. Renaissance Music for the Choral Conductor: A Practical Guide, by Robert J. Summer. Hilary Apfelstadt, reviewer. November 2013, page 56. Thomas Beecham: An Obsession with Music, by John Lucas. Nelly Matova, reviewer. February 2014, page 73. CHORAL JOURNAL Volume 54 Number 11 85 RA HO L ✩ C ✩ August 2013 OLUME 54 IINDEXNDEX FFOROR VOLUMEV 54 ✩ June/July 2014 ✩ J L OURNA The Performing Life: A Singer’s Guide to Survival, by Sharon Mabry. Donald Callen Freed, reviewer. February 2014, page 75. Benjamin Britten: A Life for Music, by Neil Powell. Ian Loeppky, reviewer. February 2014, page 77. Note Grouping: A Method for Achieving Expression and Style in Musical Performance, by James Morgan Thurmond. John C. Hughes, reviewer. March 2014, page 65. Conscience of a Profession: Howard Swan, Choral Director and Teacher, Charles Fowler, editor. John C. Hughes, reviewer. March 2014, page 67. A Matter of Choice: Interpreting Choral Music, by William Dehning. Peter J. Durow, reviewer. April 2014, page 83. The Musician’s Trust, by James Jordan and James Whitbourn. Donald Callen Freed, reviewer. April 2014, page 84. Classroom Management in the Music Classroom: “Pin-drop Quiet Classes and Rehearsals,” by David Newell. Ian Loeppky, reviewer. April 2014, page 86. Choral Vocal Technique – Evoking Sound: The Choral Warm-Up, by Sabine Horstmann. Ian Loeppky, reviewer. May 2014, page 71. Mozart’s Requiem: Reception, Work, Completion, by Simon P. Keefe. Nathan Windt, reviewer. May 2014, page 71. Bel Canto: A Performer’s Guide, by Robert Toft. Donald Callen Freed, reviewer. May 2014, page 73. 72. Recording Reviews J.S. Bach: St. John Passion, BWV 245. The Monteverdi Choir; John Eliot Gardiner, conductor. Vicente Chavarria, reviewer. August 2013, page 83. François Couperin: Exultent superi; Motets choisis. Soloists of New College Oxford and Collegium Novum; Edward Higginbottom, conductor. David Rentz, reviewer. August 2013, page 84. Antonin Dvorák: Stabat Mater. London Philharmonic Orchestra and Choir; Neeme Järvi, conductor. Sean Burton, reviewer. August 2013, page 84. From the Land of the Sky Blue Waters. VocalEssence; Philip Brunelle, conductor. Brian Katona, reviewer. August 2013, page 85. Claudio Monteverdi: Mass for Four Voices; Ninth Book of Madrigals. I Solisti di Milano, Complesso Vocal Polifonia; Angelo Ephrikian, conductor. Timothy Workman, reviewer. September 2013, page 71. In the Heart of Things: Choral Music of Francis Pott. Commotio Chamber Choir; Matthew Berry, conductor. Philip Barnes, reviewer. September 2013, page 71. 86 CHORAL JOURNAL Volume 54 Number 11 Ravel: Daphnis et Chloé. John Aldis Choir; Bernard Haitink, conductor. Michael Porter, reviewer. September 2013, page 72. Alfred Schnittke: Zwölf Bußverse; Stimmen der Natur. SWR Vokalensemble Stuttgart; Marcus Creed, conductor. Ann Lyman, reviewer. September 2013, page 73. I Saw Eternity. Elora Festival Singers; Noel Edison, conductor. David A. McConnell, reviewer. October 2013, page 63. Allegri: Missa in lectulo meo; Missa Christus resurgens; Miserere; motets. The Choir of King’s College London; David Trendell, conductor. Bob Chambers, reviewer. October 2013, page 63. Giovanni Legrenzi: Testamentum; Missa Lauretana quinque vocibus. Ofi cina Musicum; Riccardo Favero, conductor. Michael Porter, reviewer. October 2013, page 65. Songs of Smaller Creatures and Other American Choral Works. Grant Park Chorus; Christopher Bell, conductor. John C. Hughes, reviewer. October 2013, page 65. Requiem (Johannes Ockeghem and Bent Sørensen). Ars Nova Copenhagen; Paul Hillier, conductor. Rich Brunner, reviewer. October 2013, page 66. In Paradisum: The Healing Power of Heaven. South Dakota Chorale; Brian A. Schmidt, conductor. Alan Denney, reviewer. October 2013, page 68. Thomas Weelkes: Grant the King a Long Life. Choir of Sidney Sussex College Cambridge; David Skinner, conductor. Philip Barnes, reviewer. October 2013, page 69. Johann Sebastian Bach: Matthäus-Passion Thomanerchor. Gewandhausorchester; Georg Christoph Biller, conductor. John Guarente, reviewer. November 2013, page 61. Haec Dies: Byrd and the Tudor Revival. Choir of Gonville & Caius College, Cambridge; Geoff rey Webber, conductor. Laura Wiebe, reviewer. November 2013, page 61. Otto Nicolai: Herr, auf dich traue ich. Kammerchor Stuttgart; Frieder Bernius, conductor. David Rentz, reviewer. November 2013, page 62. Life and Breath: Choral Works by René Clausen. Kansas City Chorale; Charles Bruff y, conductor. Thomas Lerew, reviewer. No- vember 2013, page 63. Songs of Innocence and Experience: Music by Greg Higginson. The Chapel Choir of Selwyn College, Ely Cathedral Girls’ Choir; Sarah MacDonald, conductor. Jeb Mueller, reviewer. November 2013, page 64. Pärt: Pilgrim’s Song. Chamber Choir Voices Musicales; Risto Joost, conductor. Michael Porter, reviewer. November 2013, page 65. CHORAL JOURNAL Volume 54 Number 11 87 RA HO L ✩ C ✩ August 2013 OLUME 54 IINDEXNDEX FFOROR VOLUMEV 54 ✩ June/July 2014 ✩ J L OURNA A Seraphic Fire Christmas. Seraphic Fire; Patrick Dupré Quigley, conductor. Cameron F. Labarr, reviewer. December 2013, page 89. A Spotless Rose: Nordic Christmas. Sofi a Vokalensemble; Bengt Ollén, conductor. Steven R. Gibson, reviewer. December 2013, page 89. Advent at Merton. Choir of Merton College, Oxford; Benmjamin Nicholas and Peter Phillips, conductors. Michael Porter, reviewer. December 2013, page 90. Celebrate Christmas. The Choristers of St. George’s Chapel, Windsor Castle; Timothy Byram, conductor. Sarah Zietlow, reviewer. December 2013, page 91. Francesco Durante: Neapolitan Christmas II. Kölner Akademie; Michael Alexander Willens, conductor. Bob Chambers, reviewer. December 2013, page 91. Jingle Wells: Music from Wells Cathedral. Wells Cathedral Choir; Matthew Owens, conductor. Rich Brunner, reviewer. December 2013, page 92. The Cranmer Legacy. Choir of St. Michael at the North Gate, The City Church of Oxford; Tom Hammond-Davies, conductor. Richard A. A. Larraga, reviewer. March 2014, page 69. EndBeginning. New York Polyphony. Cameron F. Labarr, reviewer. March 2014, page 69. John Ireland: My Song is Love. Unknown: Church Music. Lincoln Cathedral Choir; Aric Prentice, conductor. John C. Hughes, reviewer. March 2014, page 70. Mozart: Requiem Realisations (sic). The Choir of King’s College, Cambridge, Academy of Ancient Music; Stephen Cleobury, conductor. Nathan Windt, reviewer. March 2014, page 71. Valentin Silvestrov: Sacred Songs. Kiev Chamber Choir; Mkola Hobdych, conductor. Philip Barnes, reviewer. March 2014, page 72. Clare Maclean: Osanna. Sydney Chamber Choir; Paul Stanhope, conductor. Philip Barnes, reviewer. March 2014, page 72. Thomaskantoren vor Johann Sebastian Bach. Kammerchor Josquin des Préz; Lugwig Böhme, conductor. Bryson Mortensen, reviewer. March 2014, page 74. Touched. Calmus Ensemble. Natasia Sexton, reviewer. March 2014, page 74. Brahms: Choral Music. Alto Rhapsody, Ave Maria, Nänie, Begräbnisgesang, Schicksalslied, Gesang der Parzen. Warsaw Philharmonic Choir; Antoni Wit, conductor. John Guarente, reviewer. June-July 2014, page 69. Mary Ann Joyce-Walter: Cantata for the Children of Terezin. King Singers of Kiev; Robert Ian Winstin, conductor. Rich Brunner, reviewer. June-July 2014, page 70. 88 CHORAL JOURNAL Volume 54 Number 11 Carson Cooman: The Welcome News. Choral Music of Carson Cooman. Cambridge Consonance; Jeff rey Grossman, conductor. Alan Denny, reviewer. June-July 2014, page 70. An Ebor Epiphany. The Choir of York Minster; Robert Sharpe, conductor. David Rentz, reviewer. June-July 2014, page 71. Gabriel Jackson, and Others: Requiem, Motets. Vasari Singers; Jeremy Backhouse, conductor. Philip Barnes, reviewer. June-July 2014, page 71. Good Night, Good Night, Beloved! … and Other Victorian Part Songs. VivaVoce; Peter Schubert, conductor. Fred Kiser, reviewer. June-July 2014, page 72. John McCabe: Visions (Choral Music). BBC Singers; David Hill, conductor. Thomas Lerew, reviewer. June-July 2014, page 73. George Fridric Handel: Messiah. Tafelmusik Baroque Chamber Choir; Ivars Taurnis, conductor. Tobin Sparfeld, reviewer. June-July 2014, page 74. 74. Choral Activities in the USA and Abroad “International Conductors Exchange Program: Building Bridges to China,” by T. J. Harper. January 2014, page 7. 75. Texts “Factors in Teaching Foreign Language Choral Music to Students,” by Stephen Sieck. October 2013, page 24. “The Infl uence of the Kalevala on Contemporary Finnish Choral Music,” by Joshua Palkki. November 2013, page 34. “Musical Settings of War Texts in Two Twentieth-Century British Choral Works (Part 1),” by William Skoog. February 2014, page 8. “Langston Hughes’s Touch of Faith,” by Richard Stanislaw. February 2014, page 59. “A Star-Spangled Bicentennial: A Conversation,” by Jerry Blackstone, Mark Clague, and Andrew Thomas Kuster. April 2014, page 6. “Musical Settings of War Texts in Two Twentieth-Century British Choral Works (Part 2),” by William Skoog. April 2014, page 32. BIB. “Fashioning Compelling Stories: Enriching the Choral Singer’s Experience through Text Narrative Exploration,” by Philip E. Silvey. May 2014, page 6. “Letter to the Editor,” by Thomas More Scott. June-July, page 6. “Response from the author,” by William Skoog. June-July 2014, page 7. CHORAL JOURNAL Volume 54 Number 11 89 RA HO L ✩ C ✩ August 2013 OLUME 54 IINDEXNDEX FFOROR VOLUMEV 54 ✩ June/July 2014 ✩ J L OURNA AUTHOR INDEX Apfelstadt, Hilary, November 2013, page 56; December 2013, Garrepy, Stacey, September 2013, page 8 page 6; March 2014, page 34 Garrett, Matthew, May 2014, page 24 Ardrey-Graves, Mark, June-July 2014, page 8 George, Donald, February 2014, page 38 Barnes, Philip, September 2013, page 71; October 2013, page Gibson, Steven R., December 2013, page 89 69; March 2014, page 72; June-July 2014, page 71 Gonzo, Carroll, August 2013, page 80 Blackstone, Jerry, April 2014, page 6 Grases, Cristian, August 2013, page 65 Bobetsky, Victor V., February 2014, page 26 Gravelle, Shannon, December 2013, page 75 Brunner, Rich, October 2013, page 66; December 2013, page 92; June-July 2014, page 69 Guarente, John, November 2013, page 61; June-July 2014, page 69 Burton, Sean, August 2013, page 84 Guinand, María, February 2014, page 18 Cavanaugh, Alice, June-July 2014, page 57 Hansen, Sharon, May 2014, page 47; June-July 2014, page 47 Chambers, Bob, October 2013, page 63; December 2013, page 91 Harper, T. J., January 2014, page 7 Chatterton, Ryan, September 2013, page 61 Henderson, Allen, May 2014, page 47, June-July 2014, page 47 Chavarria, Vicente, August 2013, page 83 Hughes, John C., October 2013, page 65; March 2014, page 65; March 2014, page 67; March 2014, page 70 Clague, Mark, April 2014, page 6 Jacobsen, Lesa, September 2013, page 24 Conlon, Joan Catoni, August 2013, page 75 Johnson, Terre, February 2014, page 56 Corbin, Patricia, August 2013, page 8 Johnson, Tiff any, March 2014, page 57 Cózatl, Jorge, March 2014, page 42 Johnston, James, February 2014, page 38 Cutsforth-Huber, Bonnie, August 2013, page 44 Jones, Elliot, October 2013, page 58 Denney, Alan, October 2013, page 68; June-July 2014, page 70 Joseph, Deanne, April 2014, page 18 Dorsey, Scott W., September 2013, page 43; September 2013, page 74; November 2013, page 53; November 2013, page Kates, David, September 2013, page 59 71; February 2014, page 35; March 2014, page 71; May Katona, Brian, August 2013, page 85 2014, page 79, June-July 2014, page 80 Kelly, Ryan, November 2013, page 54 Durow, Peter J., reviewer. April 2014, page 83 Kiser, Fred, June-July 2014, page 72 Eyerly, Heather, February 2014, page 38 Kuster, Andrew Thomas, April 2014, page 6 Faux, Jeff rey J., June-July 2014, page 18 LaBarr, Cameron, December 2013, page 89; March 2014, Flansburg, Sundra, February 2014, page 24 page 69 Freed, Donald Callen, September 2013, page 66; February 2014, Lana, Robyn, September 2013, page 52 page 75; April 2014, page 84; May 2014, page 73 Larraga, Richard A. A., March 2014, page 69 90 CHORAL JOURNAL Volume 54 Number 11 Latimer, Marvin E. Jr., October 2013, page 36 Rothlisberger, Rod, August 2013, page 34; August 2013, page 69 Lerew, Thomas, November 2013, page 63; June-July 2014, page Sayer, Ron, September 2013, page 51 73 Scott, Thomas More, June-July, page 6 Loeppky, Ian, February 2014, page 77; April 2014, page 86; May Sexton, Natasia, March 2014, page 74 2014, page 71 Shannon, Pamela, August 2013, page 75; September 2013, Lyman, Ann, September 2013, page 73 page 69 MacDonald, Sarah, November 2013, page 47; February 2014, Sharp, Tim, May 2014, page 67 page 69 Sherburn, Rebecca, March 2014, page 57 Martin, Larry, February 2014, page 63 Sieck, Stephen, October 2013, page 24 Matova, Nelly, October 2013, page 53; February 2014, page 73 Silvey, Philip E., May 2014, page 6 Mauro, Lucy, February 2014, page 38 Simonson, Donald, May 2014, page 47; June-July 2014, page 47 McConnell, David A., October 2013, page 63 Skoog, William, February 2014, page 8; April 2014, page 32; McCoy, Scott, May 2014, page 47; June-July 2014, page 47 June-July 2014, page 7 McFarland, Elizabeth Hogan, April 2014, page 59 Small, Ann, August 2013, page 73 Mortensen, Bryson, March 2014, page 74 Smith, Brenda, May 2014, page 47; June-July 2014, page 47 Mueller, Jeb, November 2013, page 64 Sparfeld, Tobin, June-July 2014, page 74 Munson, Mark, September 2013, page 65 Sparks, Richard, June-July 2014, page 63 Nannestad, Joshua Hawkins, October 2013, page 8 Spurgeon, Debra, December 2013, page 34 Palant, Jonathan, May 2014, page 61 Stamper, Greta, March 2014, page 57 Palkki, Joshua, November 2013, page 34 Stanislaw, Richard, February 2014, page 59 Peter, Timothy, March 2014, page 53 Vreeman, Zach, October 2013, page 54 Porter, Michael, September 2013, page 72; October 2013, page Ward-Steinman, Patrice Madura, February 2014, page 53 65; November 2013, page 65; December 2013, page 90 Wiebe, Laura, November 2013, page 61 Potterton, Matthew, April 2014, page 69 Windt, Nathan, March 2014, page 71; May 2014, page 71 Price, Clay, September 2013, page 34 Workman, Timothy, September 2013, page 71 Pysh, Gregory M., May 2014, page 18 Wolverton, Vance D., November 2013, page 8; June-July 2014, Quist, Amanda, December 2013, page 54; April 2014, page 64; page 32 May 2014, page 64; June-July 2014, page 60 Young, H. G., November 2013, page 22 Rayl, David C., June-July 2014, page 18 Zeuch, Kyle, April 2014, page 77 Rentz, David, August 2013, page 84; November 2013, page 62; June-July 2014, page 71 Zietlow, Sarah, December 2013, page 91 Rivera, José, March 2014, page 6 CHORAL JOURNAL Volume 54 Number 11 91 Column Contact Information ACDA members wishing to submit a review or column article should contact the following editorial board member: Book Reviews Stephen Town [email protected] Children’s Choirs Ann Small [email protected] Choral Reviews Steven Grives [email protected] ChorTeach (online) Terry Barham [email protected] Hallelujah! Richard Stanislaw [email protected] Junior High/Middle School Choirs Lynne Gackle [email protected] On the Voice Sharon Hansen [email protected] Recorded Sound Reviews David Puderbaugh [email protected] Research Report Magen Solomon [email protected] Student Times Jason Paulk [email protected] Technology and the Choral Director Philip Copeland [email protected] For feature article submissions, contact the Choral Journal editor, Amanda Bumgarner, at For advertising rates and exhibit information, contact Chris Lawrence, National Advertising & Exhibits Manager, at Advertisers’ Index ACFEA Tour Consultants 76 Naxos of America 62 Barbershop Harmony Society BC New Orleans Children's Chorus 52 Barry University 32 P h i l M at t s o n W o r k s h o p s 2 6 Cultural Tour Consultants 4 0 Santa Barbara Music Publishing 64 Distinguished Concerts Int'l - NY 35 Sing For Joy 70 Friendship Ambassadors Foundation 50 University of Colorado 74 George Fox University 49 University of Illinois 38 Golden Gate Int'l Choral Festival 59 Valiant Music Supply, Inc. 11 Harmony International IBC Valparaiso University 75 Int’l Boys & Men Choral Festival 73 Washington ACDA 20 Luther College 37 Witte Performance Tours 23 Manhattan Concert Productions IFC WSCM in Seoul 68 M u s i c f o l d e r . c o m 6 6 American Choral Directors Association 545 Couch Drive Oklahoma City, Oklahoma 73102