US I SSN 0009-5028
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!...... --.~ L:~ y ub' Wdi_ ~ n oJu ___, CHRISTMAS MUSIC TO PLEASE.
An enchanting collection of 18 carols for all An excitingly unusual carol seasons by Donald Swann and Sydney Carter anthology which has proved consisting of an illustrated book and a record to be extremely useful both to match. 'in churches and schools. On the record, Swann is at the piano, accom The collection includes non panying and singing in his inimitable way, ana standard folksongs and mod is joined by the charming voices of British ern ballads and carols by children. In the book the same songs, scored Sydney Carter, Peter Smith for one or two voices with piano, are set down and others. It avoids the in easily singable and playable form. familiar, sentimental and An ideal Christmas gift but, like the songs superstitious carols and suc themselves, disc and songbook are a reward cessfully relates the meaning ing present for all seasons. of the nativity to present-day life. SING ROUND THE YEAR 47 songs with melody lines and Soft Cover Book - ~. 50 guitar chords and glossy cover. Record - 5.98 1.75 Set of Book and Record - 7. 50
'~1"1~~~ f!l1J ~lJ1I'~~ f~1 I~OOI~~'li~ ~'lll~lJ~ I~~®I@J)~I~ Vaughan Williams For baritone solo, chorus and orchestra. SATB Vocal Score 1. 25 ~ LaNoue Davenport¥- has arranged.selec-* TTBB Vocal Score 1. 25 ~ *" tions from the Musica Britannica col (Orchestral parts available on Rental) lection, Medieval Carols for combina tions of 2 and 3 soprano, alto and tenor recorders. He has standardized the barring and metrical notation for easier reading and in some cases transposed ~~ f~~l~~i~mJll1~ ~fll~~~ the carols to more accessible keys for recorders. The texts have been kept in FII[lIIII~~I~~I~I~ the score and thus infinite performance possibilities exist -with voice, with other Unison (or SATB) and keyboard. Vaughan Williams treble instruments or a capella. These CONTAINS: The Holy Well (versions 1 & 2)/Christmas attractive little collections of medieval Now is Drawing Near/Joseph and Mary/The Angel English carols will be welcome fare to Gabriel/God Rest Ye Merry Gentlemen/New Years musician and teacher searching for fresh Carol/On Christmas Day/Dives and Lazarus/The material to supplement the overworked Miraculous Harvest/The Saviour's Love/The Seven traditional Christmas music. Virgins. .'Pl. 25 *" *" '* CAROLS FOR RECORDERS - 1. 50 MORE CAROLS FOR RECORDERS - 1. 50
Galaxy Music Corporation ·2121 Broadway - N. Y. N INEES F R 11 NAL FFICES
FOR PRESIDENT ELECT FOR SECRETARY-TREASURER
WALTER S. COLLINS COLLEEN J. KIRK GENE BROOKS J. EUGENE McKINLEY
Walter S. Collins is associate dean and Colleen J. Kirk serves as Professor of perform at the 1974 MENC national con professor of music at the University of Music at the Florida State University. venti on, Anaheim, California. He has Colorado College of Music at Boulder She holds B.S. and M.S. degrees in Mu- been at Midwestern University for five in the Division of Choral Music and sic Education from the University of Il- years; prior to his teaching at Midwest Musicoiogy. Following his ten years at linois and the Ed.D. degree from Teach- ern University, he was Chairman and Oakland University, Rochester, Mi'chigan ers College, Columbia University. Choral Director at Cameron State Col- where he was founding chairman of the Prior to assuming her present position, lege, Lawton, Oklahoma, for seven years. music department and originator of the Miss Kirk taught in public schools and His choirs at Cameron State College per Meadpw Brook Musi'c Festival. From 1965 on the faculty of the University of I1- formed at the 1969 national convention through 1969 he served as dean of the linois, where she also served as Chair- of Music Teachers National Association, Meadow Brook School of Music, which man of the Music Education Division. CinCinnati, Ohio. They also appeared at operated as an academic adjunct to the Miss Kirk has had extensive experi- the 1969 state convention of the Okla summer festival. ence as a choral conductor and she is homa State Music Educators Association Collins received his BA and BM degrees respected for developing innovative pro- at Oklahoma City. from Yale University, 1948-1951, MA and grams of choral music education. She From 1970 to 1973, he served as Na PhD degrees from the University of has served frequently as conductor of tional Choral Chairman for the Music Michigan in 1953 and 1960. At Yale he festival choruses, as workshop cliniCian Teachers N:l:tional Association. He is now served as president and assistant director in vocal, ,choral and general music, as serving as Chairman of Music in Highf'l' of the Yale Glee Club and director of adjudicator for choral festivals and com- Education for MTNA. the famed Whiffenpoofs. He was also petitions, and as speaker and panel mem- He is a life member of ACDA and he dire'etor of the University of Michigan bel' at professional meetings. She teaches served as National Convention Program Men's Glee Club 1955-56. A recipient of ohoral literature and conducting, choral Chairman for the 1973 national conven the DeForest Scholarship at Yale and a techniques and graduate 'courses ill music tion in Kansas City. He is also serving Fulbright Scholar at Oxford University education; and advises graduate stUdents. as Southwestern Division Convention Pro in England in 1957-58, Collins was direc She has served as Director of Music at gram Chairman, March 8 and 9, 1974, in tor of choral music at the University of Wesley Church and Student Foundation Dallas, TexaJs. Minnesota, 1958-60 and instructor and on the campus of the University of Il- In addition to being a life member of director of choral music at Auburn Uni linois and as Director of Junior and ACDA, he is also a life member of MENC versity from 1951-55. Senior High School Choruses for Illinois and is a member of MTNA, TMEA, TCD Summer youth Music and for the Florida A, TMTA, and Phi Mu Alpha Sinfonia. He is a frequent adjudi'cator and clini State University Summer Music Camp. ««>>>> cian at choral festivals and author of Professional affiliations include mem- a recently published book titled "Choral bership in ACDA, the MENC, the Florida J. Eugene McKinley is 'chairman of the Conducting - A Symposium." He ha~ MEA, Florida Vocal Association, the Music Department and director of choral edited many early choral music publi Florida College Music Educators Asso- activities at the Iowa Central Community cations and has prepared choruses for ciation and AAUP. She is a member of College at Fort Dodge. He .holds a B.A. degree in music education with voice the Minneapolis, Cincinnati, and Detroit Pi Kappa Lambda, Sigma Alpha Iota Symphony Orchestras. and Kappa Delta Pi. She has served emphasis from St. Ambrose College, and A frequent 'contributor to the Choral Sigma Alpha Iota as National Chairman an M.A. from ,the University of Northern i-__-dJonrna,J, Collins bas ser-'Iled-as editor of of its International Mnsic.Eund._--___"Imo""wa with post graduate work including the "Da Capo" column since 1971. He Miss Kirk is currently serving as Presi- workshops wiLh-Rober L Shaw;-:E>uugl[1'larSsc---- has. held offices in ACDA as Michigan dent of the Southern Division of ACDA. McEwen, Gregg Smith, Paul Salam uno- vi'ch, Robert Fountain, and others. state chairman 1961-65, National Program Her biography appears in Outstanding He was vocal music director at West committee member 1962, Regional pro Educators of America for 1972. gram commIttee 1967, nominee for na Branch Community SChools 1959·61; at tional President 1966, Editorial Board, <<«»» the Independence Community schools 1964-66, 1969 to present, and since 1966 Gene Brooks is Chairman of the De- 1961-67 Where he was founder and dil'ec has served as ohairman of the Choral partment of Music and Choral Director tor of the St. John's Men's Choir and Editing Standards committee. He is pre at Midwestern UniverSity, Wichita Falls, the Concert Chorale. Since 1967 he has sently serving a second term as national Texas. He received his undergradua'te been at Iowa Central and is past presi president of the College Music SOCiety, training at Oklahoma Baptist UniverSity, dent of the Fort Dodge Area Fine Arts an association of 2,000 teachers of college his master's and doctor's degrees from Council and conductor of the Fort Dodge and ·conservatory music teachers, and is the University of Oklahoma. He has com- Choral Society. a member of MENC, the American Mu pleted additional graduate stUdies at the McKinley has served as guest conduc sicologi
OCTOBER 1913 1 '--I-r-'"-"~- IOWA PRESIDENT'S PEN Is this a radical statement? I think not c,,". and I know of several, well-respected t" " j t ~ !---lJ , ' r .. I choral men in the state of Iowa who nr, ~ 1 t j RON PHILLIPS agree with me. :' < I'" J To sum it up, I guess what I am f ' ~ .rJtr•. J Is the Iowa chapter of ACDA really saying is that every director has a re : "J I ·A,De affecting the ,choral music of the State sponsibility to evaluate constantly the ~>:'. >; j f>t~/:!,;;d of Iowa? I don't really know at this kind of sound that his kids are pro point, but what I do know is that it ducing, no matter what group they are [;:;;c:(f!leo.todl
2 THE CHORAL JOURNAL THE EDPRESS
\'ICE l'REsioENT' " CHARLES ~C .. flIRT.' U. 'of Souther!l 'California " " ' Unh·ersity. 'P.lt'rk _ " " " Official Publication of the American Choral Directors Association Los ',Arigelcs, (:atifornia" 90007-' An affiliate organization of the Music Educators National Conference, 120 I 16th Street Northwest, Washington, D. C. 20036 ! "'Unh·cl'.5lty 'of' Okla~lOin~. " I : NOrlll:\l1, -OJ.lahoma 73069 Articles are indexed in The Music Index and Musical Article Guide. Micro " -S~-CntTA'it:Y,~~'~~~~~RER; ~:",,:":;, /,,' ""j film and microfiche available from AM S Press, Inc. 56 E. 13th Street, New ". HARYEY .E. Mi\IER.. >.. :, ,'(U.'?f,Miss,ottl',i, 'a,~ ',Kil:ns~~' Cit;r) York 10003. R33Z,EII~lcy'Lall'~, . ,.,~ »', ,-' ,: Leawood., Knns.3$ ,662.01'i Copyright © 1973 by the American Choral Directors Association
; ", ~:!.,:<:~~,~',~.~~~~!iii'~-<~~a;t~r;' :f:~:'>: ,:.; :.',": . , . ;. !~;<,Edilor;: Tile Cit oral ,iOlfrnal:',,' i" ·R. WAYNE HUGOBOOM R. WAYNE HUGOBOOM, Managing Editor Volume XIV, Number 2 r··· • P. O. Box'17736 :..... :.~. t'. ' Tmnp'a, 'l!lqri~a 33612 ' ~ii(l~ICrl; jjit'i~i~JI~'::'" ~:'>':".:',\' : :ALlENCi LANNOM. . BO:i~on _.U~fy.ersit)._ .:,,~- ',:: " :,.:"c·:' Boston, ' l\'!a!>:;achu5ctt.~' 02215, ,.,' ··1 >",~Vorll' 'Cc'~~~'f~(pivi~~;; I PHILLlPH: MARK '~~nrfhlgion:' Higli ;;~ho61:., OCTOBER 1973 Barrington: JlIinoi~ ~OOlO,':'. "tif~"lh~~~t~~,~~i;;~isi~'~" . .H.,ROYCE SALTZMAN i Nominees for National Offices ...... 1 ;'~~.' ,Urii~cr~ii). ~(O_rcgon ! ", "Eugci~e~ Qrcgon '97403, Multi-Media: An Irreverent View of Program-Making - Thomas Dunn ...... 5 SO'llfhc~,~ 'Divisio,;:" An Approach to "Avant Garde:' Music for the Beginner - Eva. Mae Struck1l1eyer 7 COLLEEN). KIR.K ' '. ,Florida'State University. In Quest of Answers - Be/1t Lorentzen and Fra.nk Pooler ...... 8 Tilllahassec,: Floridn'~ 32306 ::~Soillllwcslc,;~,:' bivisj~i,':~' ::::~ , Helmuth Rilling - Scholar, Conductor, Teacher - Kenneth Nafziger...... 11 •. HARRISONC;'BOUGHTON ..•. J "~>,\Vich~ta' St.1t~ 'Unh'crsity , J, The Employment of Dynamics in Interpreting the Music of ~ Wichita,' l~a~sa~ 6?208 Heinrich Schuetz and Hugo Distler - Klalls Fischer-Dieskau ...... 14 ~v,c;tIJrlt.'pivj$;('':', .,; .JANE.S.I"IARJ)J;:STER . Europa Cantat' V - Harvey E. Maier ...... , " ...... 20 '; E~', C~Ill,h~o' ,C~llegc' /'<. ".:,.' '" _, Via; Tomlnce.. Califorllia ' 90506 Iowa President's Pen, Arkansas ACDA Holds Successful Workshop, South short western Convention Features Hairston, 2; President's Message, 4; North Dakota Has New President, 6; The Choral Works of Bent Lorentzen, Note subjects of Interest, 10; Bach Works Recorded by Rilling's Choirs, 13; Brahms' Requiem Tape, 19;' Glenbrook S'chools to Hold Improvisation Clinic, 20; Da Capo, 22; From the Executive Secretary's Desk, Dues Payments for Asso'ciate State Members, Note of Interest, 23; Choral Reviews, 24; Book Reve'w, 27; Book Review, Reply to John Van Nice, 28; Notes of Interest, Phi Mu Alpha Elects Officers, Monograph Prices Quoted, 29; Statement of Ownership, Notes of Interest, 30; Division Convention Dates, Adver ~~;~~.7t~ 3·~~~~~~(· tiser's Index, Note of Interest, Contributors' Column, 31; State Presidents, Urlmnn.'Jllinnis,61801 '," ..•.... CI~Al~~ESC)HIRT' ...... ' .•...•. 32 . ,'> :;,,:·UJ,l~\·crsi.ty "of_;South~rn.: Ca1if~rliia~: ~' . - /; l.os :Angcl~s,,: California 9Q007,'" .fiEl.liN ~i.HOSMER: • cover from NEW CHORAL NOTATIONS by Frank Pooler, California State 48 Ellll_~Str~c,t,<' ': :',:' .:: .>' 'J College, Long Beach, California, arid Brent Pierce, La Siena High School, .J Potsdam; New, York 13676 picture Whittier, California. Copyright 1971 by Walton Music Corporation, 17 i, " WARNJlR.I~tIG.· ...• .,1 West Sixtieth Street, New York 10023, and used by their permission. I hI~1~r:~;::-'i:ri7!r;:~~~fj~2 : 'ARtHIENoJONES . j/ :~oute-7; 'I\O.:'Box, 7~6J.' ':'Austin,' Texas ',7a~03 ~ , ELWOOD ]:KEISTER . Unj~er5ity -,of .~Jorida ' ," -' >.'" Gaine:'-vi1le,' FJ~rida '32603 ~' '·j;cLARK RHODES· ",:9304)3:r.iarwo~d "BJ.v~.·,- ~ ~ Kn,QxviJI ., rcnJ!es~~e ,~~7.919 7 . All communications regarding The Choral Journal should be addressed to IThe Editor, P. O. Box 17736, Tampa. Florida 33612. Phones: (8131 935-9381: ACDA-Choral Journal 886-1647.
Copyright 1973 by The American Choral Directors Association, 7514 N. Hubert, Tampa, Florida 33614. Issued 9 times yearly: September, October, November, December, January, February, March, April and May. Subscriptions to Institutions only. Rates: $4.00 a year; Mexico and Canada, $4.50; Foreign: $5.00 (for Air Mail add $3.00). Single copy 60c. Second class postage paid at Tampa, Florida and additional entry offices. Published by Makovec Printers, Tarpon Springs, Florida 33589. (Do not return mail to, or communicate with this office.)
OCTOBER 1978 3 Prtl~id(Jntf1 Optln Ltltttl r To thtl
It is increasingly apparent that as ACDA continues to grow, the administra tion of our organization becomes more and more complex. Therefore, the role of the Board of Control becomes more important in determining and formulating policies of the Association. The agenda for our recent summer interim meE'ting in St. Louis was so full that it was ne'cessary to extend our sessions by one day. Some of the most immediatE' concerns and the actions taken are here reviewed for your information. The need to incorporate the organization is of the utmost necessity. There fore, we have obtained legal counsel for the purpose of drawing up articles of incor poration. The second and most important action was the review of our bookkeeping system. This was deemed necessary in light of the tremendous growth of our organi zation and the overwhelming approval by the membership of the increase in dues of $5.00 which will become effeetive July 1, 1974. Therefore, a Fiscal Policies Com mittee, headed by Theron Kirk, was appointed. It was their recommendation that a certified Public Accountant be retained for the purpose of setting up a uniform system of bookkeeping for both the Tampa and Kansas City offices. Last August, Theron Kirk, Wayne Hugoboom and Harvey Maier met in Kansas City to employ an accountant for this purpose, and to develop an operating budget for the coming year. This budget is to reflect the needs of a growing organization. Therefore, in order to determine this budget, all division presidents were requested to submit a .budget by September 15th. These budgets will reflect the needs not only of the re- spective division but of the individual state. . In order to determine the division budget, each state president was requested to submit a state budget to their division president which represents accurately the needs of that state to properly operate during the coming year. This is, indeed, a new and dramatic departure from present policy where monies were allocated on request to the sta:tes. It also signifies the increasingly important role of the state preSidents. It will allow them more freedom in the development of state programs unique to that particular state. SU'ch a ,change in policy should encourage the states to increase their membership which will result in increased revenue for the operation of state and division programs. Other important actions taken at the summer board meeting were as follows: 1. Appointment of Theron Kirk to review constitutional and By-law changes. 2. Appointment of Charles Hirt and Harvey Maier to discuss proposals for joint ACDA cooperation with the Lincoln Center International Choral Festival pertaining to the 1976 Bi-Centennial Celebration. 3. Salary raises for Executive Secretary and office staff in Tampa was approved. 4. Approved a motion to invite the Federation of European youth Choruse,; to become an International Associate of ACDA. I am constantly amazed at the enthusiasm and dedication to the obje'ctives of ACDA that is shown by the members of our board. They are, indeed, embued with a vigor and vitality of spirit that reflects to the very 'core the growing strength of our organization. Cordially,
4 THIit CHORAL JOURNAL will be different (and, l:PSO facto less MULTI-MEDIA: satisfying). If he is not aware of his potential, he may need a little seduction from the tried and true. If the process AN IRREVERENT VIEW OF PROGRAM·MAKING is successful, however, he will be ex cited and grateful, and his response will THOMAS DUNN same price I could buy a recording and be measurably warmer than that of the stay home and play it, without the trouble old, indifferent and jaded concert-goer. Music Director, The Handel and of parking, baby-sitters, etc., etc." Or, But even this little encouraging note Haydn Society on a deeper level, "all the wrong notes fades before the influence of TV, ever Editor-in~chief, E. C. Schirmer working its magic to keep all potential Music Company in a live concert upset me; I know there will be no mistakes on my record." concert-goers glued to their chairs at home. And the problem for the choral The first thing to do, I suppose, is Less obvious are acoustical problems buH is even more acute, when the chances to identify myself. Not face to face, as manifest in a concert hall, in which, for the survival of choral music on TV is usual in diplomatic circles. but then, either the performers appear to be far are realized. that's not the way I usually practice my , away and small from the back seats of now you are ready to craft. Like other conductors. my back the balcony, or if the sound is I trust that is really the best-known part. An argu- th1r~' ment inevitably would ensue anyway. cr' because, of all touchy subjects, program- 1 making is one of the touchiest. Every- 01 body thinks himself to be the one and PI only practitioner of an art occult and J nowhere written down. Am I trying it? 1/, No; for it would take me into a history : of public concerts; the basic aspects of j/ program-making: a history of style (the I "who did what, where and with whom") d and the practicalities of the current situ- I ation; and how to generate new ideas. IT, Some day I hope someone will ask me aI to do a workshop or a course on the sub- 11 j ect, for program-making is a truama 0 we all face constantly. It would take a t while because I ramble a lot, just as 1 I'm doing now. Back to credentials: 1 what makes me think I have any? Well, J,' perhaps not really credentials but no- 'I toriety at least. Some of that comes from what we have been up to for the 1, last five years in Boston, where, with )1, the venerable Handel and Haydn Society I have conducted some of the heaviest programs (would you believe both the '\ St. John and St. Ma;ffhew Passions of j Bach in German two days apart?) along ," with X-rated puppet operas and all- I Mozart concerts featuring gambling for ~ the audience and dancing. Or perhaps ;J you know about me from the press when 1 I conducted 22 beagles as soloists with q my orchestra in Philharmonic Hall, New tl~ York, some years ago. For purposes of this article I have a, chosen a smalLaspecLoLtheJarg:el~ues"'--_-'iP.I'______------tion of program-making: a personal vie~ of what is needed on programs today, 9 and some of the hazards ahead for the ~ conductor who has the nerve to try it. 8,1 "Records have rendered all but the f most communicative live performance in- I,' operable." That's a quote I made up myself. In addition to its reflection of l the modish language style of today, it 1 exp·resses the frustration performing mu- ~ sicians feel at the dwindling and disap- 1\ pearing of live concerts. Doubtless you \ hear some of the reasons on the lips tl, of concert-goers themselves: "For the a
OCTOBER 1973 MUL TI·MEDIA . . grams. The first is in chDDsing what medium (especially if the m~dium is to. do and hDW. And, as is so. D,ften the dogs). In rehearsal time required and 'fascinating Drchestral SCDre Cin.ema as case with music, the safest grDund o.ne mDney in the budget, lights,. co.stumes • I acco.mpamment to. the wDndrDusly funny can find is that o.n which a great CDm- and staging can be expenSive unless silent film Entrarcte of Rene Clair, I pDser has himself StDDd. I make it a care is taken. So. my advice is to. start can attest to. the pDwer Df live music rule fDr myself (which I break Dcca gently - dDn't go. to. the dDgS all at Dver what we are so. inured to.. I sup- siDnaIly) to. cDnduct multi-media prDduc once. po.se that the effDrt Df cDnducting in tiDns Dn Dnly thDse pieces Driginally And anDther hazard. Perhaps an idea, synchrDny with the film is in itself an cDnceived as such. (WDuld yo.u believe no.t the intentiDn Df the cDmpDser, is extra prDvDcatiDn to. spirited perfDrmance that LeDpDld MDzart himself specified burning in YDur brain, cryin?, fDr im which must in turn be cDmmunicated to. the dDgs fDr his sCDre?) And there are plementatiDn in multi _ media ten~s. the audience Dver and abDve the advan- plenty o.f them arDund: the trick is to. (CDmpo.sers like Handel were never q~lte tage in sDund Df the live Dver the canned. find them. NDt the dDgS Dr the CDm- cured o.f their multi-media tendencies, NDW fDr the hazards, fDr there are pDsers, the wDrks! anci~I~-t~vestigial=elues=bu·r;-ied=indheir~1 ~indeed=hazards-=in=tlre::":::'w~ay~" o;;D';f~p·~u"tt;lh~"g~"=' ~::A~fi~o~th';:e~'r~"'"1h~a~z~a~r~d~:=' ~th:-:e:"'" ==;,.=·it:'ie'::'· .=. D:'fC""":'c:::'o:m::'p~ll?'j-="~' DratDri'Ds. Try Belshazzar.) BefDre you multi-media wDrks Dn co.nventiDnal prD- catiDn is expDnential. With each added try YDur idea, bear in mind two. thDugh~s : 1) YDU might suffer visual ~uperflUlty - - ..... -_ ... ------_. ...., because o.f the heightened mtellectual cDntent Df the SCDre, Dr 2) one medium , might viti'ate anDther. YDU wDuldcatch number Dne from Bach's St. Mathew I Passion if yo.u filmed it· yDU wDuld I catch number two. if yDU da~ced Handel's I Messiah. I wDuld like to. describe SDme o.f the I crazy multi-media productions I ha~e I cDnducted recently, in BDStOn, but thiS I medium, the magazine, permits o.f Dnly I a small list as a CDme-o.n: FDr chDrus: Argento. - The Masque of I Angels; Janacek - Children's Nurs.ery I Rhymes,' Edward Miller _ The Sev~lI Last Days,' Daniel Pinkham - Damel I in the Lions' Den. I FDr Drchestra: Haydn - sy'mphony ~O; I MDzart - Musicalisches 7/f/1U!rfelspud; I HDnegger - Le Dit d.es ] ett"% dt~ M onde. FDr puppet Dpera: de Falla -. El Re I tablo' de Maese Pedro,; Fr.ancalx - Le I Diable Boitettx. 1 NDne o.f these wDrks is Dn. the 1973-74 Ii seaSDn Df the Handel a!1d Haydn SDciety. I ThDse pro.grams are still sec :ret. :.: I I I NORTH DAKOTA I HAS NEW PRESIDENT With the depaI"ture Df Rc>·ger WH~elm I for New York, Vice Presider:JI.t Denms R. Mosser Harvey High Sch THE CHO~AL JOURNAL An Approa~h to ''Avant Carde" EVA MAE STRUCKMEYER National Junior High School Chairman for ACDA Mu~i~ for the Beginner Director of Choral Activities Horace Mann Middle School Wausau, Wi'sconsin Our world has been described as a goals: the students grasp the idea, but "global village" - simultaneous expan- more important and much more subtle, sion and contraction of ideas and activi- the teacher illustrates his belief in the ties. Old boundaries have been burst; music and reveals his spontaneous atti- With the chalJenge of performing for new definitions are being shaped; "Mu- tude. Having the students perform with- the rest of the class, each group is sic's definition should be specific yet as but the teacher's aid can create chaos motivated; the leaders in the groups broad as a 'span of time in which there because of student inhibition and natural appear; musical discriminations are ver is change due to conscious manipulation tendencies to deride the new and un- balized; and music. is a priority topic within the sound gamut audible to familiar.' Then our attempts to free the at the evening meal in many homes. man.' "( I) At the same time we observe musical spirit have only served to shadow Activity, not passivity, is the clue to stimulating compressions in the field of it more. success. At the right time during the music: performers are also composers; When the students can successfully aforementioned process, a published selec improvisation and composition are less perform each line and then the three tion in this idiom should be presented polarized; popular music is "serious" parts together they are eager to invent to the students, the thrust being to ex music too; and "avant garde" music their own four-beat musical sentences. tend their curiosity and understanding. needs a more appropriate title. To be- Guidelines for format and performance The reality of a printed page bring~ ginners it is "ava/1t garden, bllt to the are established by the composer and "do- ths music into focus; and SOUND con more experienced the new mllsic has ing one's own thing" is a basic premise. cepts. ("sound" meaning both auditory already been accepted as a; valid part of The students' early efforts will be ac- and reliable) have been established, the cult lire. ceptable if they can be read clearly and Ideal openers which I have used with A gestalt is developing. Our teaching . easily interpreted by another performer. satisfaction are: MUST reflect this unity. Performan~e, The writing skills necessary at this IN THE BEGINNING OF CREA composition and improvisation are not introductory level are much simpler and TION, Daniel Pi'nkham, 2902, E. C. separate tasks. Fragmentation stultifies less formalized than those heeded to Schirmer; SHE WAS A VISITOR. music's propelling nature and is boring function on the five-line staff. They are Robert Ashley, Oxford University Press; to children. In this connection, a k1low- also equally as inventive. And learnings HISTWIST, R. W. Jones, A-1076, ledgeable and enthusiastic teacher ca1l from each form of written communica- Shawnee Press; SPEAK WORDS OF NEVER be replaced by electro1lic hard- tion transfer to the other. For additional PRAISE, F. Dale Bengston. G-156, The ware or a packet. assi~tance consult the books NEW odore Presser; SOUND PATTERNS How does a teacher develop enthusiasm CHORAL NOTATION by Frank Pool- NUMBER ONE, Bernhard Rands, UE for "avant garde" music? By the same er and Brent Pierce. 1971. and NE\V 14647, Universal Edition. ' avenue we hope to provide for children CHORAL DRAMATICS by Bent Lor- There are useful recordings available. - personal experience. Involvement, do- entzen, 1973. Both are published by Wal- Among them are: ing - not just listening - DOING. ton Music Corporation. EXTENDED VOICES, Odyssey, Stereo How does one find these experiences? The next step will be to experiment 32160156, and A V ANT GARDE, Deut On the. adult professional level one can with the combinations of sounds. Func- ~che Grammonphon, Stereo 137004. observe and participate in rehearsals, or- tioning in small groups can be stimula- Fonnulating a goal and approaching it ganize one's talented friends for experi- ting for this process because of the from the most elementary level you deem menting with this music or attend a group dynamics of verbaIly sharing ideas necessary for your students demands your workshop. The personal qualities neces- and suggestions, and it necessitates spa- being a sensitive teacher whose class sary Jor this effort are open-mindedness, tial change for the class. Students of room management abilities are flex'ible. willingness to shed inhibitions and ability any age need variety of space, pace, mode whose self assurance is not threatened, to cope with threats to the security of of presentation. etc. to avoid fatigue. and whose perceptions will release the one's long-established musical judgments. With their peers and in smalJ groups unlimited range of musical learnings in- An educationaIly exciting approach for the students feel less restraint in expres- herent in "avant garde" music. Conte11l youthful begiimers is to involve them sing themselves. The teacher should get plate the catastrophe resulting from lack personaIly and almost immediately in the out of the way and aIlow them healthy of preparation for this idiom! Condi creative aspects of the music. The fol- latitude in implementing their ideas. tioning at the beginning avoids the C01l1- t---r;lo:;;w=m:;-;g:;:-.-:i~s-a~o;:;;n~e;;---;:m;;-e;:;;a:;-;s;;-u:::r:::e--.:1th:::r:::e:::e:--p=-a:::r"'t:-=-::c-=o=m::-----(G~l:,.v"'e,----,s;t;h;r;o"'r.... t--;s;..u .. gv.g"'e"s .. tt-lO ,.;n;::,s...... "s""'u"'c'h·--'Oa"s7:----plieati-ons--0f-inhihiti-on-thri'.Jugheut-th·ee----- position in 4/4 meter created by the "Maybe you would like to combine learning of a composer's honest effort. teacher and taught partiaIly by rote: lines of various people's compositions Whalte'ller t'ype of orientatio1l YOII dc- and create a new one - a composite." vise for your students be slIreit produces "Perhaps more rhythmic or pitch vari- in'sta'llt success and reveals the fla~'or at ety could be possible and more interest- this style of music. As they proceed with ing." their own compositIons and those of other "Try to combine appropriate bodily more experienced musicians their musi motion into each of the four-beat pat- cal sensitivities wiIl grow. terns." An informed a.lIdie1lce is IIsllail" (111 "Study the vowels and consonants you appreciative one. III. this context, re;llelll chose. Would different ones be more bel' toedl/cate the a,l/die1lce for 'Whom effective?" :you perform. "a~'a,lIt garden liN/sic. The By actually performing the lines for the These activities will probably encom- definition of music in the first para students, the teacher accomplishes two pass sections of several class periods. graph of this article could form the OCTOBER 1978 7 THE LABYRINTH IN QUEST OF ANSWERS Pitch is controlled by movement along the vertical axis and change of vowel sound by movement along the horizontal. On the conductor's cue, the entire chorus begins together at the place marked "entrance," The pitch at this point will be very low (as the AN INTERVIEW WITH BENT LORENTZEN singers are low on the vertical plane) and the vowel sound will be "a" (in keeping with the indications of the horizontal plane). Having begun, each singer will then perform the labyrinth along the mics and I found it so enjoyable. Years direction indicated at his or her own tempo. When the path moves up later I went to Sweden and observed a ward, the singer will raise the pitch, and as the path moves left or right. g.re3Jt deal of this kind of activity in the singer will change the vowel sound according to the indications at the bottom of the dotted lines. Finally. as the path nears the "goal." the the works of Jan Bark and Folke Rabe. pitch will drop to the level at which it originally appeared. The piece wiIJ Of course I ,had seen 'some of this pre end when the last singer reaches the "goal." viously in Denmark but in Sweden there was so much more of it. I also observed it in one of Eskil Hemberg's fi'rst dra matic pieces entitled "Eighteen Move ments." (2) My wife was singing in Hem- frequent 'contact with him in this way. Then I thought th3Jt I should try to work with these things in a special manner. I would try to compose some short pieces making use of these ideas -- not real compositions, but something 'ow like exercises. I started writing pieces, not especially for choirs, ,but for the c1as,sroom. I thought we should have something easy enough for school 'child THE DUMB SHOW ren to do so that they could master an This exercise is an.other pantomime. The directions are self:explanatory entire piece in fivE) or ten minutes. I and are to be performed at the direction of the conductor. knew it should not be too difficult pe (bring the /wndl slowly cause many years ago I had composed (D/I squDttlng on heels) upo~t!rllti1d) some operas for school children. They turned out to be extremely difficult to play and to rehearse. The children were An interview by Frank Pooler with (in/ree rhythm. aitemDti! between bored by the time we were finished. The (both hDndl rotim lumdl o~er tlfe head and in front the Danish composer and author Bent qUickly at the wrl1t) horUontallY.Slll1rotDting) Lorentzen concerning his book on ohoral teachers told me to do some works that dramatics and the Danish 'choral scene. were shorter and not so complicated - The tape W3JS made in April 1973 at some small things. California state University, Long Beach It was then that I ,started to write the book which later became "Sound Form during a break in Mr. Lorentzen's lec (rotDling handl down (AllrlJe,Jtlll ture tour of southern California univer ing and Choral Drama." The pieces in bytlleJldeJ) rotatlngllandl) sities and colleges. the first version of this book made use of patallel ,thirds, open fifths, ostinatos, and fauxbourdons. When I was finished ! * * * my publisher told me, "We ,cannot print this book. We think most of these pieces (allrotateJe~eraltlmer F.P: I have here your new American are boring, but the last thirty are ex (Jprwiout) around own axis) publication, "New Choral Dramatics."(l) cellent!" What does the title mean? F.P.: Are you saying that origi:nally the (rotating B.L.: The Danish title was "Sound 0 Formcooo 'book was much longer? lIandl ing °and Choral Drama." Sound forming' (aJl stop one aller gradually B.L.: It had over one hundred ,pieces in it. another. lace the corne to .is related to what you call choral speech, conductor) ,'''I or 'composing choral worms with no text. F.P.: And out of the hundred the pub Choral drama is similar to eurythmics, lisher liked thirty? where individuals or groups of people B.L.: Yes, and the thirty were in the, try to make expressive body movements final 'chapter, the chapter on new music. to music or to a spoken 'text. When I I think the publisher was right. The first The work below is aleatoric. The voices should, as usua1, synchronize on was a student at the 'conservatory we seventy pieces were perhaps a little dry, the downward arrows, and each system should last approximately 10 had a visitor who demonstrated euryth- too theoretical to be of any immediate seconds. The total time of the piece, then, should be about 40 seconds. interest to school choirs. F.P.: How was it received in Denmark? = Has it been used in the classroom? APPROACH B.L.: It ,has been received better than any of us thought possible. We thought nucleus for a short explanation which that this sort of thing might be too experimental for Danish children. But would provide the listeners with broader apparently, Danish students and c1as's insights. room tea'chers were ready for new kinds l,P:P In keeping with the younger genera of material. The Danish schools, parti tltttttltlltttttlttitt Ittttttli Itltttttllttl ttllltlttttilltllltllil (unvoIced) tion's philosophy of "Do it now;" "Jump cularly the so-called "folk high schools," used primarily one songbook. The book 'I"==- .fZ==- in, the water's fine," I challenge you 2. was also used in Norway and Sweden. ~. to turn some new furrows. John Mase It contained many fine songs, by Carl "._- field in GRACE BEFORE PLOUGH Nielsen for example, but they were all written for unison singing and it is now ING writes "To most of 1(S the future I. ') --= ===- -= =- a little old-fashioned. seems UllSll're. Bnt then it abwa,ys has tttltltlttitt Itlttlttll 1--1---- F.P.: Did it contain folk songs? (unvoiced) b,een,; and we who have seen great ~::::::::==-- --== ==--= 2. changes 111USt have grea,t hopes." t·: B.L.: No, not folk songs. It contained songs written especially for the folk, but FOOTNOTE it is no longer popular Then the schools 1. George B. Biggs, Jr., A SUGGESTED tried the Carl Orff method from Germany p= I. f TAXONOMY FOR MUSl!C EDUCATORS, and many other things. By the time my pttt r Journal of Research in Music Education, book 'came out the schools were ready Volume XIX, Number Two (Summer, for something new. In Denmark some ppp f ' -== 2. =- > II 1971), pp. 170-171. t·: thing called "forming" is quite popular. . ' " ''4 8 THE CHORAL JOURNAL It's like dr-awing, but it uses other kinds only twenty-five. John Alldis from Eng the small churc·hes you can find up to of materials too. This type of creativity land has been their conductor for the eight singers and in the larger churches was also needed in the school choirs. past year and they are good singers. you can find up to sixty. These are 'lIhe pieces in my book are not directly There is also a girls' choir on. the Danish usually mixed choirs. creative, but there is room for creativity. radio station. There once was a boys' F.P.: One Suuday I attended services at F.P.: One of the things that interests me choir but it is no long!)r connected with the cathedral in Copenhagen and heard about the book is that the pieces can be the radio. I 'had some contact with this Mogens Woldike's boys' choir. I thought used as warm-ups, and as a means of group when they were doing a piece of it was excellent. loosening the inhibitions. Many people mine 'called "Wave Games." T.hey per formed it when they toured the United B.L.: Yes, it's fine, and they often sing feel strange when confronted with some in the church.' thing new such as choral pieces which Sta:tes some months ago. demand body movement. But the pieces (See example below) F.P.: Woldike has a fine reputation in in your book are so short and easy and the United States. In fact, I believe he Apal't from r.adio, there is a choir at has an international reputation for the so much fuu that they could be used as the Royal Theater for opera. Then there series of music histl)ry recordings he warm-ups. Choirs might also be able to are many good amateur choirs. I could made many years ago. The recording transfer some of the movement sugges not begin to think of all of them. Co techniques were not the best but the tions to other pieces for which no move penhagen has some good mixed choirs. records were widely used in this couutry. ment was originally intended. In Arhus you will find good mixed and male choirs. B.L.: These were recorded by the Dane, B.L.: Yes, of course that was one of Peter Willemoes, and released by the my ideas. As you know I was a teacher F.P.: Do the larger churches have choirs? for many years and I was very much New York City Haydn So'ciety. 'lIhey were interested in developing a method for B.L.: All of the churches in Copenhagen, designed to musically illustrate a book teaching ,such things. Kabalevsky has even the small churches, have choirs. In called "Masterpieces of Music Before written small, fine pieces which are also written as 'an exercise to prepare stu WAVE GAMES III dents for larger works. I tried to build on this principle as simply as possible. For example, "She sells 'sea shells" is Group I is sittin~ in the front making continuous wa~e-like movements with sU'ch a simple idea to apply to aleatoric music. the wrists, tempo about !.1M 80, with the whole group following rhythm- . SHE SELLS SEA SHELLS ically. The consonl!lIlts occur only an the dO'll"llward gesturee but when (Traditiona1 English Rhyme) In order to simplify and emphasize the requirements of aleatory perform· ever each pleases. ance, traditional rhythmic nolation has been omitted from this exercise. The text is to be spoken with the rhythmic patterns which spring from Group II is in the center, bending forward. Everyone in the group joins hl!lIlda normal speech. Be sure to synchronize the voices on the downward arrows only, and to make certain that some singers speak slowly while olhers mskes simulteneous wave-like mo.,ements with the arme at about speak quickly. and tempo ItlM 60. Group III is at the back, swaying slowly from side to side, making characteristic, wavy mo.,ements with the hends. (All)l..:S:::h.=-..:':::'U::., -.:,:::ea~.:::'h:::'I::.I'--.:o::;.n....:::'h:..' .-:.:"=-' .,.:'1:::;'0::.:":.... ____ The shells she sells are sea. shells, I'm sure. I (wl(lrrafJtdl'oiceJ 1I Where are the sen- shore shells she sells? .nr I -: S lis ~ F.P.: What is choral activity in Den mark? I know it's difficult to isolate one segment of a musical culture for dIscus- sion, but I would apreciate an attempt. B.L. : It isn't like the choral scene in 1 Sweden, which is so fascinating. I don't ad. CGG b think choral possibilities are as good in .II I..... Denmark. In a way, choral music Isn'-t so popular. Children',s choirs have some problems, 'especially with getting the boys lD interested. But of course we have some fine -choirs, especially the Boys' Choir in Copenhagen, which Is an old tradition. The boys for this choir are taken from throughout Copenhagen by !)hoosing the best boy singer from each school. These r r:====~~~~~~~~======::::::::::~~::::::::::::::::::======I. ---~he-fine-;mhoul-ca:lled----II-----;FPf>JS-lw.jbl5-1~PS I ______the Boys' Choir School of Copenhagen. ]I 1-~----e.-tl-e---i~~----_____-Jlo-·--o-o------(~CO---l Half of the curri'culum in this school is }> b J> b cid IP .rsps U tit!. singing instruction and half is normal instruction. It is a special school and the only one of its kind that I know of in Denmark. The choir is of high quauty and they sing many fine thing>s. I don't think our othe-r choirs are as well or- ganized as in Sweden or the United States. F.P.: Do you have any professional choirs in Denmark, or choirs that exist for radio or television? B.L.: We have a professional 'choir for the radio but ·there have been some prob lems paying for it. Before the war there were fifty singers but now t·here are OCTOBER 1973 9 ANSWERS . . . get a commission for me and then have Art Foundation, which has considerable the four choirs .perform my work in a money for commissions, paid the rest. 1750."(3) I used these recordings and the fine room with four loudspeakers. It "Wave Games" was commissioned by ·the book when I was teaching music t1istory will have its first performan'ce this year. former radio Boys' Choir. but now we have other things. How- F.P.: Is this available through Wilhelm F.P.: Which of the other younger com ever, Woldike's was one of the first. Hansen? posers in Denmarlt are writing for chor F.P.: I've heard that Benjamin Britten B.L.: It has not been .printed yet, but us? was very fond of Woldilte's work and used if it is it will be pUblished by Wi1helm B.L.: Mos·t of them have small pieces his boys' choir for the premieres of some Hansen, as are all of my works. for choir. of his choral works. F.P.: How are works commissioned in F.P.: One of.the Danish choral composers B.L.: That's ri~ht. Scandinavia? who is quite well known in this country F.P.: We have a musician in this country B.L.: We receive a letter stating ·that we is Bernhard Lewkovitch. named Jester Hairston who is very popu- have received a commission. For example, B.L.: He's probably one of the most im lar. He arranges spirituals and does a my ballet "Afgrundens brond" or "The podant 'choral composers in Denmark. great deal of clinical and festival work. Bottomless Pit" was commissioned for a He has written three "Salmi," five "Mad Jester recently told me that he went to special purpose, the Nordic Music Days rigals," a Mass, "Canticum sacrum," "Can- =Denmark an"d-used-Kiii Jensen's elioir F'estlvaI. The country--hostmg-thls F'estl- tata sacra';"=ten-batm-'''MOtet~,=u'''S'''o-;n''''g'''s;=== to record his first album. This choir of val ·c·an. commission new works from for Male Choir" with texts by Ole Sarvig, school teachers and university students composers only from other Scandinavian "Stabat mater," - a fantastic .lis·t of used such perfect English pronunc:ation countries. Therefore, Norwegian compo- good worms. that Jester thought it "a little too proper sers could not get commissions for the F.P.: Several of these are available in for Americans." After some coaching, 1972 Nordic Music Days Festival because this country through G. Schirmer. however, they "sounded as though they the Festival was held in Norway. The B L' A th t· had been born and raised in Alabama." Festival Committee asked me if I would ... no ervery impor ant Damsh choral composer is Vagn Holmboe wi-th B.L.: We study much English in Den- accept a commission to write an elec- his "Liber cantorum 1954." Ingolf Gabold I mark and are trYl'ng to learn these It'tronic music piece. I said yes, of course. h as a so wn·tt en some exc~t ing new 'choral special things. s normally done in this way, and it's works to English texts. There is a new F.P.: Let's tallt about your choral works. a great honor to get these c~mmissions. book called "Choral Singing in Den What brings them into existence - F.P.: Are there other orgaruzations in mark."(4) In it you will find nearly commissions? Scandinavia which offer commissions? forty compositions by practically all of B.L.: One of my pieces, "Northern B.L.: Perhaps the best commissions come the Danish composers who write for Lights," was 'commissioned for four Scan- from the 8candinavian Council (Nordisk chorus. I think this would be an inter dinavian male choirs from Oslo, Gothen-' rad). This Council recently commissioned esting book for American choral musi berg, Arhus, and Abo. The idea that two operas, one from Alfred Janson cal- cians to study. they should do something together came led "A Mountain Fairy Tale," and an- F.P.: Thank you, Bent, for taking time from Finn Egeland Hansen, a choral other. "Gilgamesh," by Per Norgard. My from your lecture tour to make this tape conductor and assistant professor at the work, "This Morning," wa·s commissioned for us. Would you give us a listing of University of Arhus. He was very in- by Finland and, as I have said, "Northern your choral works? terested in electronic music and we were Lights" was a special commission. The B.L.: Yes, thank you very much. w01:king together. He said tha·t he would chorus paid for some of it and State's ««»» The Choral Works of Bent Lorentzen (Wilhelm Hansen, Copenhagen) Revolution, 1969 - 15 minutes. Choral Songs to Texts of Mao, 1970-72 (T·hree for three equal voices and four JEAN BERGER for mixed choir). Northern Lights, 1971 (Ohoir and Tape). This Morning, 1971 (Three equal voice·s) 5 minutes Songs of my Country, 1971 - 4 minutes. BIRDS OF A FEATHER Four 'Wave Games, 1972 (Three equal voices) ~ 5 minutes. An Entertainment in One Act FOOTNOTES 1. Lorentzen, Bent. "New C.horal Dra for Solo Voices, Chorus, and Instruments matics (Dimensions in choral speech and movement). Copenhagen: Wilhelm Hansen. Exclusive distributor of Eng lish language edLtions for .the United Full performance materials now for sale Sta·tes and Canada: Walton Musi'c Cor poration, New York, New York. 2. Hemberg, Eskil. "Eighteen Move ments." Stockholm: Edition Wilhelm Full Score $7.50 Hansen. 3. Parrish, Carl and John F. OhI. "Mas Chora I Score 2.00 terpieces of Music Before 1750." New York: W. W. Norton and Company. Set of Parts 15.00 4. Emborg, Harald Bjerg, and Finn Hoff ding (ed.) "Choral Singing in Denmark." Copenhagen: Wilhelm Hansen. :.: JOHN SHEPPARD MUSIC PRESS Founder and Director of Singing City of Philadelphia, Elaine Brown, will be Sole agent: guest conductor at a choral workshop to be held in LeXington, Kentucky, Novem ber 2-3. Sponsored by the Lexington Sing JOSEPH BOONIN, INC. ers, Inc., and their director Phyllis Jen ness, the workshOp is open to all inter ested singers, conductors, and teachers. P.O. Box 2124 - South Hackensack, New Jersey 07606 Write: The Lexington Singers, Inc., P.O. Box 8213, Lexington, Kentucky 40503 for further information. 10 THE CHORAL JOURNAL Helmuth Rilling Scholar, Conductor, Teacher at the 1974 Summer Festival, University The following article is the ,result of of Oregon, and the fact that for next observations and interviews by Dr. Ken year's tour of Japan the Gaechinger Kan neth Nafziger during the annual Sum torei has commissioned works by Milko mer Festival of Music, University of Oregon, where Helmuth Rilling serves Kelemen and Gyorgy Ligeti. as Musical Conduotor. Mr. Nafziger is Rilling is currently involved with a Assistant Professor of Music at ,the Uni recording project in which he intenrls versity of Minnesota-Morris. Hi'S under graduate training was at Goshen College, to have all the extant Bach cantatas his masters and doctoral studies at the recorded by 1985, the three hundredth University of Oregon. anniversary of Bach's birth. There are also two other cantata recording projects underway in Europe, one of which or- Helmuth Rilling, a man of rare talent ganizes its recordings numerically (be HELMUTH RILLING as a conductor, scholar and teacher, lives ginning with Cantata No.1), the other, near Stuttgart, Germany, where his en- following the liturgical year (beginning poser must have heard it, e.g., with old ergies are divided among several large with Advent cantatas). The Rilling series instruments, with boy choirs, and so on. projects: conducting three choirs and an begins with unknown cantatas. His choirs The first approach obviously, must be orchestra, teaching conducting classes, and orchestra have already recorded rejected, and as for the second, Mr. making recordings, and a variety of spe- about fifty (the first ones were done in Rilling does not find an exact reproduc cial events such as festivals and work- 1970), and of that number, almost none tion of a performance ideal. He argues shops. His choirs include the Gaechinger have been previously recorded. When that Bach's music a.t the time it was Kantorei (a semi _ professional choir the body of relatively forgotten cantata~ fh' st heard was cont,e11lp'Ora1'y 1Ilusic to which, in addition to its regular concert is exhausted, the remainder will be re that audie1lce, acl1d tlze h1Wnediate impact appearances, tours internationally and re- corded by year of composition, e.g., upon that alldiellce canllot be reproduced cords), the Figuralchor of the Gedaecht- Bach's first year at Leipzig. The complete becallse of the evolntion of compositional niskirche in Stuttgart, and the Frank- series of recordings. issued by Claudius procedllres to the presen.t time. In addi furter Kantorei. He also conducts the Vedag of Munich, is not available tiOIl, what Bach was able to communicate Bach-Collegium, Stuttgart, an orchestral through American retail outlets, though to his audie1lce through his compositions ensemble. Mr. Rilling teaches at the State ultimately the entire series may be ob would not be readily apparent to a mod Academy for Music in Frankfurt where tained from Musical Heritage Society. ern alldiellce becwuse today's alldiellce he has a small advanced class of choral At this point in the recording project, has become a;ccllstomed to '/lew alld dif conductors and preparatory classes for speaking retrospectively, Mr. Ri1ling be ferellt sOllllds. As an example, Rilling students who need choral conducting as lieves strongly that to really know and calls attention to the "Barrabam" chord a prerequisite for church music or public understand the mind and spirit of Bach, in the St. Matthew Passion. which in school teaching positions. Interwoven one must become familiar with his church Bach's day must have been a jolt, both throughout this heavy schedule are va- cantatas. Bach's great Passions, the Mass for its harmonic remoteness and for its dous performing appearances, such as and other large works as well as his intense bi"evity; since Schoenberg and the London Bach Festival where Rilling's orchestral music are, for the most part, \Vebern, however, "Barrabam" seems performances drew highly favorable cri- music for special events. In the church quite commonplace to modern ears. In tical acclaim, the Flanders Festival in cantatas, however, one finds Bach at his addition, Rilling points out that the audi Brugge, the Summer Festival of Music normal workday state of creativity; for ence since the time of Bach has changed at the University of Oregon, and work- it was the requirement of the Sunday in several ways: in its level of knowledge shops under the auspices of Arbeitskreis service which inspired the largest seg and understanding, in its tolerance of Fuer Musik. Finally, Mr. Rilling is also ment of the composer's work. Therefore, dissonance and special effects, and in its an organist, though he finds less and less to the student of Bach, the composer purpose for listening to a musical com tnne to devote to that aspect of 11'1;-,i5~P""1 ~o---l~e~v~e""-als-himself most clearly-in-tm.-se posmon. Even thollglra;perfo'r/lla,nce may fessional life. works. be recollstructed with great exactitude. Much of the repertoire which Rilling The philosophy from which Rilling the audiellce ca,nnot go back alld ullder performs is that of Johann Sebastian approaches performance of the Bach can stalld the composer tllI'ough the lIIilld Bach. Although he is regarded as a tatas, and old music in general, is more alld ears of the audience fo'r which a leading interpreter of Bach, he does not pragmatic than purist. As he views the work was first perforl/led. restrict his work to compositions of that traditions of performing old music, he On decisions of interpretation, Rilling composer. Music from eras other than points out two opinions which have in offers two guidelines: 1) know as speci the late Baroque are also found in his fluenced most modern performances: a fically as possible the performance prac repertoire. One can cite his attention this nineteenth century Romantic approach tices (he often substituted the word "ha year to the choral music of Max Reger which employs forces and techniques that bits" for "practices" whidl in many in honor of that composer's one hun- obscure the intentions of the composer, respects seems a better term) of a par dredth birthday, recordings of works of and a twentieth century approach which ticular period; and 2) gather as much Brahms, Buxtehude, Schuetz and Caris- holds that music needs to be performed historical information about this period simi, the emphasis on Mozart and Haydn as exactly as possible in the way a com- about social. pol itical. and cultural factor~ OCTOBER 1973 11 RILLING . .. possible, as demonstrated in Rilling's p~r- Those who participate are not necessarily formances, to maintain a clear communi- strong 11wsicians; man.)' learn the mllsic surrounding a given composer and era, cation of textual matters without destruc- by rote. Rehea,rsals begin. at 2 :30 Satur the historical position of a composition tion of the musical phrase, a problem day afternoon. and last witil about 9 :30 within the complete works of a compo- which is compounded many times in con- in the evening with only a pause for ser, and specific information about a trapuntal music. a.bendbrot. Sunday morning at 8 :30 th.e given work. The next stage in matters Helmuth Rilling, in addition to his choir meets for a rehearsal with orelle of interpretation is, in Mr. Rilling's more obvious strengths as a performer, stra and soloists. During the service, words, that "old music must be trans- is a superior teacher. He is an extremely sections of the can·tata. are in.terspersed lated into possible importance for today," kind and soft-spoken man who, while throughout, always in. correlation with which is another way of saying that one keeping the work of art the central focus the sermon. and based on· the a.ppropriate must find how best to communicate to of rehearsals and performances never gospel lesson for the day. The result is a modern audience what a composer may abandons a respect for the indi;iduality a twentieth century. realization. of the '="=have-mRnn-mina:=Tnere-'is~he=acKnow;;;-"a-rtCl-humanity-of~~ea€h-··"person=·=ifivolved=··=Lutheran·-service=·dllring ..=Bach/s··time;==··=-= ledges, a divergence of opinion among with hiIp. Here, the influence and philo- There is in preparation a book by European conductors regarding interpre- sophy of Kurt Thomas, his early teacher, Helmuth Rilling which will be valuable tation. One need only compare the emerg- is apparent. Teaching takes on several not only for the information contained ing series of Bach cantata recordings guises for Rilling only one of which in it, but also for its general principles for proof .of this fact. Fortunately for is the traditional 'classroom. In giving and understanding which will give fur- the professional musician as well as the classroom instruction in conducting, he ther insights i~to the artistic thinking layman, a variety of forums for exchange is able to deal with a wide rang'c of of the man hImself. The book, to be of ideas about performance practice exists abilities, always offering helpful sugges- published in English translation by Pe- in Europe. One recent example brought tions for further development of skills. tel's, will contain according to its author, Rilling and Harnoncourt together with His emphasis lay strongly on the soliditv "everything that one should consider in other performers, musicologists and theo- of beating technique to which expressiv'e planning a performance of the St. Mat- logians for a four-hour radio broadcast gestures can be added. thew PasS.iOll." Questions of performance discussion of matters pertain ina- to per- practice, size of forces, historical back- '" Rilling's rehearsals tend to have great d d' bl h formance practices of Bach cantatas. The groun , con uctmg pro ems and re ear- pedagogical value for the participant in 1 1 '11 . discussion was appropriately titled, "Es sa prob ems WI be dIscussed. In the l'l'hllb sich ein Streit /" that they emphasize clarity of directions. Spring of 1974, Rilling will record the efficient use of time, and most of all, St. Matthew Passion. for Erato Records During Mr. Rilling's work with choral a common level of understanding of a and the book, quite obviously, will fit 1Ilusic at the Slimmer Festhml in Ell- composition prior to a performance. As into that element of his work which can gene, Oregon, a key phrase - "atmo an outgrowth of the rehearsal, Rilling be labeled "teaching." spheres of words" - occurred frequently. included in the Eugene Summer Festival A small gesture seemed more than On being questioned about this phrase one evening devoted to a lecture-rehear anything else during the Summer Festival as it relates to the preparation of choral sal,' a three-hour block of time in which of Music to capture the greatest essential music for performance, he responded that he shared with the audience his under strength of Rilling as a performer, schol in addition to complete and thorough standing of the Bach St. Matthew Pas ar and teacher. In acknowledging audi analyses of a composition and an under sio1l, using soloists, choir and orchestra ence applause following his lecture standing of that composition within the for musical examples. He has recently rehearsal of the St. Ma.tthew Passion, context of a composer's total works and included some explanatory comments with he simply lifted into the air his copy style, there is the very important element some of his concerts in Germany and of the Bach score. In a less literal sense, of text as an additional conveyor of finds such effort well worth the time for much the same thing happens in his meaning and expressivity which must be the deeper understanding which an audi performances he allows people to see considered by the conductor before be ence is able to develop. Because of his Bach (or whatever composer whose work ginning rehearsals and performances. approach to music as art and because is being performed.) The same may also Several questions on this matter demand of his philosophy conveyed to participants be said of his rehearsals and his classes. response: What are the theological con in rehearsals, performances tend to be Finally, as something of a postscript, texts and meanings of sacred texts? come. extensive of Rilling's teaching style. Rilling encourages the continuation of (Here Rilling's training as a theologian Important ideas, often dramatically pre exchange between American and Euro becomes a tremendous resourCe in his sented, are transmitted through the per pean choral musicians. From American performances of Bach's sacred works and formers to the listener and concerts choral conductors, he feels that our Eu his teaching about them.) What are the become edifying experiences in a spiritual ropean counterparts could benefit by philosophical or poetk contexts and sense. adopting the better vocal training habits meanings of non-sacred texts? How does At the Gedaechniskirche in StuUgart of American groups. In the area of choral the poetry involved fit in to a composer's Rilling has been responsible fo·r a most repertoire, very little music by American style of thinking and composing? Does unique teaching idea, the Bach cantata choral composers, according to Rilling, the composer show a preference for a weekend. The weekend consists of once is known or used in Europe today, and particular kind of text, and is this specific a-month Saturday rehearsal a.lld a Snnda:.' there is a desire to become aware of text of the type to which the composer performance of a selected Bach cantata that body of literature. He feels strongly would normally be attracted? . to which anyone interested is invited to that a cultural climate of growth fostered The actual sounds of the text can often participate. The response to this ide.a by the exchange of choral perf0rt111nCeS communicate meanings, as in poetry when has beeli exceedingly warm· - children could well be expanded to an interna standing alone. In texted music, these as )'Ollllg as ten to twelve years of age tional gathering of conductors who might sounds must be clear since they often join with singers up to eight:., )'ears of meet to discuss various problems fro111 dictate the style of singing as well as age per'sons representing many ~'ocatiolls a purely theoretical standpoint. the kind of phrasing required from the and mlocations ineludillg a· beggar become If Mr. Rilling's contributions to the orchestra as, for example, in the ritor dedicated participants some people must University of' Oregon's Summer Festival nello of a Baroque aria. It is entirely come from. great dista·llces to sillg Bach. of Music and the rewards which he says 12 THE CHORAL JOURNAL he has gained from his four summers BWV 151 Suesser Trost, .roein Jesus BWV 206 Schleicht, spielende Wellen, BM kommt, CLV 71 905 (BWV 63) 30 SL 1354 of experiences there offer any indication BWV 155 Mein Gatt, wie lang, ach lange, BWV 208 Jagdkantate, BM 30 8L 1351 of the potential for stimulation, and CLV 71 906 (BWV 109) BWV 213 Hercule aud dem 8'cheldewege, growth. then certainly the American BWV 158 Der Friede sei mit dir, CAN BM 30 SL 1356 choral scene stands to gain by the en 651 224 (BWV 35) BWV 215 Preise dein Gluecke, gesegnetes BWV 168 Tue Rechnung! Donnerwort!, Sachsen, BM 30 SL 1355 couragement and sponsorship of such CLV 71 902 (BWV 20) BWV 249A Schaeferkantate, BM 30 SL events which teach, correct, establish BWV 176 Es ist ein trotzig und verzagt 1357 dialogue.. reaffirm. and most importantly, Ding, CAN 651 223 (BWV 45) inspire. t·: BWV 178 Wo Gatt der Herr nicht bei Works to be recorded this season are uns haelt, CLV 71 914 (BWV 73) Cantatas 41: Jesu, nun sei gepreiset; 48: BWV 187 Es wartet alles auf dich, CLV rch elender Mensch, wer wird mich er 71 909 (BWV 81) loesen; 69: Lobe den Herrn, meine Seele; BWV 191 Gloria in excelsis Deo, CLV 71 96: Herr Jesu Christ, du hoechstes Gut; BACH WORKS RECORDED 907 (BWV 19) 120: Gatt, man lobet dich in der Stille; BWV 201 Der Streit. zwischen Phoebus 125: Mit Fried und Freud i'ch fahr dahin; BY RILLING'S CHOIRS und Pan, BM 30 SL 1352 146': Wir muessen durch viel Truebsal; BWV 205 Der zufriedengestellte Aeolus, and 156: reh steh mit einem Fuss in At the behest of the Lutheran Church, BM 30 SL 1353 Grabe (CLV 71 915-919>. :.: the Gaechinger Kantorie and i·ts director, Helmuth Rilling, of stuttgart, Germany is in the midst of recording the Bach Cantatas and Motets. Through a world wide subscription, the group is preparing and re'cording a porition of the works Available on each year for the Claudius Verlag, Bir 30-dayapproval kerstrasse 19, Munich. Some of the com (See coupon) pleted recordings are being distributed by Musical Heritage and all are available through the Claudius Verlag. During the past five seasons the choir has completed recording 40 of the Can tatas and will record 9 more this season. Completed works, with flipside number in parenthesis, is listed below: Renaissance to Baroque BWV 12 Weinen, Klagen, Sorgen, Zagen, Three Centuries of Choral Music CLV 71 911 (BWV 102) -selected and edited with historical and biographical notes by BWV 19 Es erhub sich ein Streit, CLV 71 907 (BWV 191) Lehman Engel BWV 20 0 Ewigkeit, du Donnerwort!, CLV 71 902 (BWV 168) Here, in these 8 volumes, will be found representative examples of the great BWV 21 rch hatte viel Bekuemmernis music of the "golden age of choral music," the 14th, 15th, and 16th centuries. (SDG 610 101) Here are very carefully edited, and practical, editions suitable for both study BWV 34 0 ewiges Feuer, a Ursprung del' and singing. Liebe, CLV 71 910 (BWV 74) Volume I-FRENCH-NETHERLAND MUSIC by Machault, Okegham, Des BWV 35 Geist und Seele wird verwirret, Pres, Janequin, Costely, others SATB (GA 5002) $3.00 CAN 651 224 (BWV 158) BWV 40 Dazu ist erschienen der 80hn Volume II-ITALIAN MUSIC by Gabrieli, Montiverdi, Vecchi, Anerio, Ges- Gottes, CLV 71 903 (BWV 70) ualdo, Marenzio, others SATB (GA 5003) $3.00 BWV 45 Es ist dir gesagt, Mensch, was Volume III-ENGLISH MUSIC by Dunstable, Taverner, Tallis, Byrd, Morley, gut ist, CAN 71 903 (BWV 176) Weelkes, Gibbons, others SATB (GA 5001) $3.00 BWV 58 Ach Gatt, wie manches Herze leid, CLV 71 908, (BWV 72) Volume IV-GERMAN MUSIC by Isaak, Senfl, Hassler, Schein, Scheidt, BWV 63 Christen aetzet diesen Tag, CLV Buxtehude, Bach, others SATB (GA 5005) $3.00 71 905 (BWV 151) Volume V-SPANISH MUSIC by Ponce, Flecha, Escobar, Morales, Victoria, BWV 66 Erfreut euch, IhI' Herzen, CLV others SATB (GA 5006) $3.00 71 912 (BWV 77) BWV 70 Wachet! Betet!, CLV 71 903 Volume VI-ENGLISH MUSIC by Tallis, Morley, Byrd, Gibbons, Purcell, (BWV 40) Bateson, others SATB (GA 5004) $3.00 BWV 72 Alles nur nach Gottes Willen, Volume VII-FRENcH MUSIC by Certon, DiLasso, Le Blanc, Bertrand, CLV 71 908 (BWV 58) Goudimel, others SATB (GA 5007) $3.00 BWV 73 Herr, wie du willst, so schi'cks mit mir, CLV 71 914 (BWV 178) RENAISSANCE TO BAROQUE FOR WOMEN's VOICES-music by Des Pres, BWV 74 Wer mich liebet, der wird mein Palestrina, Dunstable, Dowland, others SSA & SSAA (GB 5002) $2.50 Wort halten, CLV 71 910 (BWV 34) And also, consider this fine collection BWV 75 Die Elenden sol1en essen, CLV BWV 77 Du sol1st Gatt, deinen Herren lieben, CLV 71 912 (BWV 66) BWV 80 Ein feste Burg ist unser Gatt, STPL 514,150 .------IE BWV 81 Jesus schlaeft, was soll ich = HAROLD FLAMMER, INC. NAME :; hoffen, CLV 71 909 (BWV 187) l1li DELAWARE WATER GAP, PA. 18327 III BWV 88 Siehe, ich will viel Fischer aus 111!1 ADDRESS III sendedn, CLV 71 904 (BWV 150) BWV 91 Gelobet seist du, Jesu Christ, • Please send single copies of the following III eLV 71 913 (BWV 122) • volumes on 30·Day Approval: CITY III BWV 102 Herr, deine Augen sehen nach II GA 5001 - GA 5002 _ GA 5003 - II dem Glauben, CLV 71 911 (BWV 12) II GA 5004 - GA 5005 - GA 5006 - STATE ZIP III BWV 109 rch glaube lieber Herr, CLV IIIiII GA 5007 - GB 5002 - GA 5013 - IIiI 71 906 (BWV 155) IlIl 0 In addition, please send complete Harold Flammer Catalog of Sacred Choral Music. IIiIII BWV 122 Das Neugeborne Kindelein, 0 I'd like a copy of the complete Shawnee Press .School and Concert Choral Music Catalog, too. CLV 71 913 (BWV 91) II1II III BWV 150 Nach dir, Herr, verlanget mich, 1IIiIIIIIiII ______~1m 1I• CLV 71 904 (BWV 88) OCTOBER 1973 13 The Fmp/ogment of Dgnamif!g in Interprefing the Mugif! of Heinrif!h gf!hueiz and Hugo Digt/er KLAUS FISCHER-DIESKAU this we have to respect the architectural organization of the work, to which the use of dynamics should be subordinate. (Translated by Martyn Clarke and Harold A. Decker) A large crescendo effect which might extend over many pages of the score was completely unheard of at the time of III Schuetz. It was approximated by intensifying or slackening Heinrich Schuetz has given us many indications as to effects produced by varying the instrumental forces; here, how his music should be performed: the arrangement and and only here, can we properly speak of baroque "terraced" composition of-the choirs. me Instrumentation, etc. (T6) , even. "dynamiGs~In=this=Gas~;=howev~lo;=it=oGGul's=automatiGaHy=with~~ occasionally. details of violin technique(17) are mentioned by out the direct assistance of the singers or instrumentalists. ' him. From the composer himself, however, we learn little Yet the dynamics of the individual sounds are controlled very about the employment of dynamics within his works (18). His carefully as they seek to absorb the sound of the words. pupil and assistant, Christoph Bernhard, himself Kapellmeister Schuetz, Praetorius, and others, even require that instru under Schuetz in Dresden, left behind a systematic Treatise mentalists must familiarize themselves with the text and in- on the art of sing'£llg and ornamenta.tion(5) , which we may terpret their individual parts on this basis. It is for this regard as authentic documentary evidence of vocal practice reason that Schuetz. for example, often declared that they should not fail to rehearse thoroughly, so that they do not in the time of Schuetz. arouse displeasure in the listener by "unpleasant har Bernhard reproduces in his treatise the ornamentations. mony(19) ". or "Kunststuecklein," as he occasionally refers to them, in The Magnifica;t, SWV 468, will serve as an example. dividually listed in catalogue form. It is our business to know It is a work written for five choirs which I will number how to deduce the correct application of these "styles," just here as they are designated in the score: as the singers of that time had to do. At the same time, we 1. Group of strings (2 violins and bass continuo) should not forget that performance practices were extremely flexible, according to the resources at one's disposal. I refer II. Three trombones the reader to the discussion of this in Chapter II. III. Select choir (4 parts) Perhaps I may be p,ermitted to illustrate my essential IV. First ripieno group (4 parts) points by means of examples, since this seems to me more V. Second ripieno group (4 parts) instructive than generalized remarks. One important prepara The strongest dynamic concentrations in this work occur at tory comment: a schematic "working out" of the dynamics the passage "fecit potentiam" (measures 140-162), and at of a particular work intended for performance according to the end (measures 297-321). Thus the middle and the end the models given here would be out of place. I only wish to of the composition provide the architectural "pillars" of tlle suggest methods which may help to indicate the most sensible entire work. This function is emphasized by the fact that procedure under any given circumstance. these sections display the greate'st rhythmic variety, and In the discussion of dynamics in Heinrich Schuetz it is similarly, the greatest melodic movement in all voices. If we essential to consider his works in the light of their instru bear this in mind it becomes clear that we should not begin mentation, since on this basis certain fundamental decisions too forcefully; that is, the tenor soloist from Choir III should may be made. not immediately burst forth at full strength 'with his intona tion, but should sing in a "choral" manner (despite the 1. Pol:yclzoral works basso, continuo), that is, unornamented and with a soft tone. The type of sound aimed at should be governed by the Also, in order that he has time to hold out the final syll~ble arrangement of the various parts. Those sections which are ( -cat), the tutti need not enter in too strict a tempo, and for fewer voices, as, for example, the select choir alone with the choral attack should be as gentle as in the tenor intona basso continuo, are often adjusted to the same volume as tion. It should consequently be performed as follows: the ripieno sections by means of stronger singing. The con trary is correct: the more naturally the singing voices are p-<- . ttI.~~ P controlled, the more one will want to avoid the effect of a typical piano as opposed to the tutti. But that does not mean ~ F 6TrAffiy - I 'C'8 ~-- .., ~ that these parts - in contrast to the ripieno - should be merely whispered, as the purists sometimes maintain. For it Following this, we see the tenor from Choir III playing a is precisely here that expressive singing becomes possible; leading role throughout this entire section (up to measure the same proportions which are considered possible and de 19), las he consistently diverges rhythmically from the tutti. sirable in the full choir must also be applied here: a sensitive Now, the fact that (a) the tutti continuously performs and and flexible use of dynamics governed by the word declama (b) the solo tenor stands out soloistically from the main body, tion. The way in which this should be arrived at I will causes the following mistakes to be made in many perform designate by the term solo singing. A complete separation ances: (a) because of the "strong tone(18)" in the tlltti.. between oratorio style or recitative style in polyphonic pieces everything that throats and instruments can muster and more. and monophonic pieces is not possible in practice. is given in terms of vocal intensity. and (b) the solo tenor The heavily orchestrated parts, on the other hand, would vainly screams against them with his topmost vocal power, have been severely neglected if they had merely been played all of which ultimately produces an unbeautiful battle for through in a uniform forte. Here it becomes apparent what supremacy. The correct procedure, on the other hand, is as is meant by word declamation, except that it should be even follows: (a) the choirs and instruments together should only more expansive, less differentiated than works, or parts of give so much that the soloist is still easily audible when he works, which have a soloistic character. Quite apart from sings with a natural, unforced tone; (b) the tenor should 14 THE CHORAL JOURNAL set off his part with small ornaments (for more on this see word "beatam" would not be sufficiently clear. below); (c) the alternating wave movement between solo First, we must realize that in the preceding llleasure~ and I/ltti is produced by means of dynamics. as follows: the solo voices display all kinds of moving figures as notated by Schuetz himself. It seems reasonable to continue this SOlO: anima mea, anima .mea Domi - num } movement into the long, sustained notes, as is taught by -=::::::'= ;::::=:- = ;::- -===. :::== the theory of affects. At the same time, however. the remain lTutti: anima mea, anima mea Dominum ing choirs, which suddenly come in at this point, should not -===== ;;::=- --==== >-- -=:::. >- completely cover up the soloists, Moreover, they may in The following work, Et I!xulta~'it, for two soloists, soprano troduce no embellishments since diminutions are in any case and tenor, begins with a S£nfonia for three trombones. These restricted more to the Favoritchor, but may only sing the wind instruments. til modern performances, are normally' notes as they are written (see above), in order not to pro accustomed to adjusting only to each other. In a polyphonic duce a fatal excess of movement or to introduce an unpre texture, however, this is wrong! Each trombone player must pared alleg1'o agitalo. This would be inappropriate because also have his individual dynamic character oriented accord the inward sense of movement is suggested here by Schuetz ing to the textual and tonal character of the vocal lines. For in a highly feminine way, particularly at the entrance of the this reason even the instrumental parts always had to be pro word "beatam." The dynamics in the lutti should take the vided with the text in the music of Schuetz' time. Bernhard following form: ' says in paragraph 11 of his treatise (5) : "In small notes one c1 o section of them in sung piano and the next section forte p .--=:::f :;::::::;- p and then vice versa, in such a way that one sometimes begins with a pia,no, but always ends with one." Tf we apply this be a - - tam. here. the result is: Concerning the ornamentation of solo voices, care should pf J be taken a) that it conforms to the harmony; it is I 1J £ ,~ f:g . fa best to write it out rather than leave it to chance, b) that 18 J I I I ~ ~l I I i I I I it is given primarily to the principal parts, here Sand T, and ' ~ c) that the bass part is not given ornamentation, since "in 4£ ~ ~ -1)~t ~-1' ~;\r the bass, no change of tempo or coloratura should be made This execution may thus reasonably be applied to the pre other than those given by the composer. Otherwise the foun ceding trombones. Since the basic character of text and music dation of the singing will be shattered, the voices will have no is cheerful. one should (all this is according to Bernhard) basis, and nothing will be heard but a wearisome dissonance choose a fast tempo. That means also that one should be .(23)" My suggestions for the Fa~'orifchor: sparing with embellishments ("not unduly slurred") and -=f- should sing the .notes essentially ("as they are written,") since embellishments would ("sound somewhat more melan $~~~~~~~~~~~ choly than these effects, namely joy, anger,. and delight. require.") Perhaps this section should sound thus: et; ~ - ti.- - uU' - "'F - ~ _ me,- «<>, Note: One performance style uSl.mlly excludes another. Thus, I either generously apply various ornamentations (Irmlsitus, .ntperjectio, SUbS1I1Illio, and so on) which would dictate cer ~~ ___. _-~- ______.--0 _.____ .. _" _ ...... tain dynamic changes adjusted to the passage, or I stick to ::::=- "fJ the exact written notes (canlar sodo) and introduce dif 91, fJ J .;:,.,. ... ~ ~ ')0 .f ~_ ferentiation by means of a richer use of dynamics.' The ex ... -r,-·-r;--" tent to which the dynamic shape should be modified by r·J-L· '-'l ,&>C- &-ti- .. ~,~ suspensions, anticipations, etc., may easily be seen in the - - - - ~I I preceding example: the use of accentuation, and the shift ~-? .::=-=- 1\' 'P . ::==== p ing of piano, forte, crescendo, and descrescendo. -tL --- ,---1. I am neither able nor willing to give a detailed analysis . . of the "affects" theory at this point, since our discussion is IV .. .& - IZ - - ~f solely concerned with dynamics. We will see, however, that -1= 'P ,F 'P 'J() I~ .,- the two cannot be separated completely trom each other, and ~ we will frequently find ourselves being forced to stray into . -I· .. - the area of ornamentation. 1,& (J.. - - There is another special feature of polychoral music h; - - >t~1 which should be discussed, and we find an example of it in I '}J .-==::::::..12 ~ '}7 --- measures 90-96 of the M agl1ificat. I refer to the occurrence of long note values sung in the t!ltti which in the case of ...... Schuetz are usually connected with harmonically bold, highly - It. expressive chordal effects. In the majority of performances Three things are immediately striking in the ahoye these chordal blocks are sung with a simple forte or even realization: fortissimo. Thereby they are not only stripped of their ex a) If all the dynamic shadings were marked. whether by pressive quality, but also they possess no proper relationship the old master or by the present editor, the score would be to the musical surroundings before or after. In this case two unduly overloaded. Moreover, the interpretive freedom of important items should be considered, without which these passages would sound relatively pale and the emphasis on the -Continued on page 18 OCTOBER 1973 16 Choir Book This edition contains three settings, the composer's unison version, and two different SATB choral settings. The first choral setting, at times has a baroque feeling (in the Lord Have Mercy and The Lamb of God) and yet is sung above an Afro-American jazz/blues accompaniment. Stimuli Inc: The second choral setting Consultants for the has the sound of "contem application of the per porary American classical" and forming arts and mixed "is sung above a full symphony media-presentations-in"~-,~" or chamber~orchestra"-score~~ the areas of education or above a classical organ and celebrations. accompaniment. Besides their You are my son. This day uses in church, these settings' I have begotten you. Based on seem especially suited for scriptural texts, this song engaging the interest of college celebrates the messianic dignity and civic choirs. and duties of everyman. It The unison setting has could be used in Christmas possible chords indicated. This celebrations since many of the Mass, composed original,ly to texts are found in the be sung in unison, is worth a Christmas Liturgy; but the choir's effort even in unison - song is not limited to the even for concert performance. Christmas theme and could A spiral bound book, 8% x even be used in non-Christian 11; 64 pages; two color contexts. The song is structured printing on heavy duty cover for soloist, chorus (either stock. unison or SATB), and congregation (either unison or Orchestral Scores backed by SA TB chorus). Melodically, the piece is Three different scores are touched by Afro-American and available on a rental basis ... Middle-Eastern influences. for a full range of instruments Rhythmically, it moves from a (Flute; Oboe; Clarinet; very free (possibly improvised) Bassoon; Horns I, II, III, IV; phrasing in the prologue to a Trumpets I, II; Trombones I, very strong jazz-type rhythm II, III; Tuba; Snare Drums; in the refrai n and verses. Timpani; Violins I, II; Viola; An 8% x 11 booklet; 12 Cello; Bass) ... for chamber pages; printed on cover stock. orchestra (Flute; Clarinet; Horn; Timpani; Violins I, II; Viola; Cello; Bass) ... for a four instrument ensemble (Flute, Clarinet, Bass, and Organ). BROTHERHOOD OF MAN This contemporary setting of the traditional Mass combines elements of Gregorian Chant, Afro American, popular, and classical traditions. The music of this Mass is moving because it brings the words of the text to life unlike so many classical RESURRECTION and popular attempts where the music achieves its power by Though also appropriate forgetting the text or doing for Easter, this song celebrates violence to it. The Mass is the triumph of life over death suitable for both congregational in everyday occurrences: Death and choral use. is not what we're going to; HAIL MARY death is what we're growing Accompaniment Book from: slavery, and violence, the An Afro-American Ave needed song not sung. There are five different Maria. This deceptively simple Especially recommended for accompaniments. Two are for melody is poignant and college and civic choruses as piano and bass and have a jazz charming when rendered well as for church choirs, this "feeL" One is for five piece classically. When rendered in song is structured for solo(s) Jazz combo (trumpet, the style of a black gospel and chorus (either unison or trombone, bass, drums, and singer, it is powerful and SATB). Composed with unison piano). Two are for classical stirring and has brought singing in mind, Resurrection is organ - one for unison or concert audiences to their feet. worth a choir's effort even congregational singing, the The song is suitable for and when sung all or partially in other to accompany an SATB arranged for congregational, unison. The unexpected but choral setting. choral or solo use. pleasantly surprising blend of A spiral bound book, 12 x An 8% x 11 folder; 6 pages; black fol k and classical 14; 148 pages; printed on one color printing on coated influences make the music heavy duty cover stock. cover stock. itself as refreshing as the I I positive, life affirming ideas expressed in the text. Resurrection can be very effectively accompanied by piano and bass. Also, a chamber orchestra score' is available for rent, if such is desired. An 8% x 11 book; 32 pages; printed on heavy duty stock with varnished cover. SIimuli Incil presents Clarence JOSII Rivers WITNESS OF CHRIST the man 111111 I am come to fill my office as a witness of Christ before al/ men. And the Christ I know his music from the Gospels is a meek and humble Christ who came to serve, and not to be served. And who taught by word and the example of his life a very simple yet most profound lesson of love. This prose text, lifted from a bishop's installation sermon, comes to life with power through a combination gospel/jazz/classical treatment. Designed for solo and SA TB chorus, it might conceivably be adapted to solo and congregation, with the congregation singing simply in' unison or with "spontaneous" harmony. This song might be especially suitable for clerical ordinations, episcopal Clarence Jos. Rivers, long interested in a synthesis of consecrations, baptisms, the Afro-American and the classical music traditions, confirmations, missionary has had his music performed at the Newport Jazz Festival send-ofts, etc. (with the Billy Taylor Trio) and at Cincinnati's An 8% x 11 booklet; 20 Music Hall (with the Cincinnati Symphony Orchestra; pages; two color printing on Erich Kunzel, conducting). textured cover stock. His poem Resurrection (an unusual blend of black gospel and jazz with classical elements) was performed on the CBS Television Network with the CBS Orchestra conducted by Alfredo Antonini, and the Camerata Singers directed by Abraham Kaplan. Father Rivers is available for appearances with orchestras, civic, college, and church choirs. For further information, contact: Business Manager, For a complete brochure of the available works of Clarence Jos. Rivers, write to ... Business Manager Stimuli Inc. Box 20066 Cincinnati, Ohio 45220 INTERPRETING ... ti always f. Thus is should again be emphasized that the de tailed dynamics are regulated by the singers themselves, and development essential to this style would be restricted intol the overall dynamics by the volume of the fo·rces em.ployed. erably. The editions of this music: made fifty years ago with At the beginning, the se%tlls (soprano II), alt'zis, and ca.nt1ls numerous dynamic directions made on the basis of inadequate (soprano I) enter in succession (soloistically, as required) stylistic knowledge, prove that the interpretation of this music and the dynamics in each part should have their own life, as requires a subjective commitment on the part of the interpre I described it in the preceding section in the case of the trom ter. a subjective experiencing of the music, in order to produce bone sinfonia: a convincing effect. J b) One must thoroughly study and rehearse the music in order to achieve a mature performance. Schuetz cannot be "read through," otherwise he ceases to be Schuetz. c) The dynamics must take account of the smaIlest de- II~~~~~~~~~ "~taiL-emphasize nuances;' and=s11apeevery' singIe-word;-as-tfie-- W style requires. The singers were speciaIly trained in these matters. Today many think it sufficient to make a large cres cendo wherever it seems necessary. This completes the discussion of the essential fundamen tals in polychoral performance. It is hopefully self-evident that the dynamic markings 2. M ol1ochoral works which I have given in the simplified form p. f. p'. f. etc. Much of what was said in the preceding section also ap should not be understood as an abrupt alternation between plies to pieces written for only one choir. Here one must p. and f. ("Whereby it is to be born in mind that one must draw a certain distinction between those with basso continuo not suddenly change from p·ia1UJ to f01'te (or vice-versa), but and those without. Let us begin with the latter category. I that the voice must gradually increase and decrease; other choose as an example a motet from the Geistliche CIUJr-MlI wise that which should be a work of art would sound utterly sik, Op. 11 no. 18: "Die Himmel erzaehlen die Ehre Gottes" detestable (20).") (The Heavens TeIl of the Glory of God), SWV 386. At the entrance of the tutti (measure 13) the same thing applies, and here it is especially important to observe a flow Schuetz explicitly says in his preface that the coIlection ing dynamic, since the voices almost all contribute equally. consists of compositions without basso continuo ("ohne bas The rhythmic peculiarities of the tenor II should be made sum continuum"). More recently, however, many people, in clear by holding back the other voices, not by the tenor sing a misdirected attempt at authenticity, believe the use of the ing more loudly. A rhythmically spoken singing, that is, with basso continuo to be essential in performance, since it was out legato, is called for in the tenor II. In general, however, written into the work by Schuetz himself. On the title page, a basic legato must be maintained at this point in the music, however, the master says, "In which the Bassus Generalis otherwise a jerky caricature of speech will be produced and because it was considered good and desirable, but not out of the lines and curves of the individual voices will be broken necessity, may also be found." In fact, the basso continuo up, completely contrary to the intention of the composer. style was still so fashionable at the time of the edition, that Such passages as the following make this clear: the publisher must obviously have requested Schuetz to make the addition. It is significant, however, that the pieces are composed in the old contrapuntal style. If one wishes to per form them with an authentic use of dynamics, one should ig nore the niceties of recitative style (redenden St'J'los) and draw relatively long-sustained lines, as in the music of Pales trina, for example. One completely forgets that "switching" from style to style was never so radically practiced in Schuetz' time. Performance-practice has been in a state of continuous development, and thus interpretation was always determined more by the type of teaching in the particular chapels con cerned than by the stylistic awareness of the directors, al though, naturaIly, the latter exerted considerable influence on In this context the question also arises as to how the dy the local practice. What Schuetz actuaIly wanted was to set namics should be accommodated to the linear progressions, up a compositional model in the old style; although he advo or whether there should be no dynamic movement within the cated this with all modesty, he also said that he wanted to longer sections. The answer is that this too is already com encourage young composers first "to bite open this hard nut, posed, as was mentioned in the discussion of the forces em before they proceed to the concerted style. (7) l' The very ployed. In natural singi.ng a forte occurs when rising into the close relationship of text and musical declamation demands upper range and a piano in the lower range, with all grada from us, therefore, a rhetorical dynamic which precisely fol tions between. Consider the cantlls, measures 85-92: lows the sound of the words. On the other hand, ornamental diminutions and "affects" which alter the 111elody-line should be completely avoided. Since the designations "soli" and "omnes" are clearly given in the voice parts of our motet, two groups must be distinguished: 1. FavQ1'itchor of six soloists, possibly also six viols. 2. ChoJOlts du.plicatus, with stronger forces, six parts, possibly also six wind instruments. This produces, with no ad fUJ. fk,JJtlidto tw vcr - IJ-"t •• ditional help from the performers, two levels of sound-vol ik,-,PJ- .i~- Yi.t"" "" 1U:1te_ ~fwm-"'" ilat VI- '-O.P - ..jJ. .. ume, which may be characterized by soli equals p. and tu.fti equals f. This refers, however, only to the relative effect and The deliberate ornamentations by the singers (I have not does not imply that the soii should always sing p. and the tut- marked them here), according to the sense of the word-decla- 18 THE CHORAL JOURNAL mati on, are distinct from the involuntary increases and de 21. Ibid., No. 33. 22. When I say "Schuetz period" I do not necessarily creases in volume determined by the pitch. But what richly mean all the music of his time, but only that currently in a varied dynamics are thereby produced! Now, in more recent style similar to his. music, we are accustomed to follo~ing a forte marking even in the lower range (and similarly a pianissi11110 in the higher range): singers and instrumentalists have acquired the tech nique to do this. This means, however, a) that the composer (Mozart, Wagner, Bizet, Strauss, for example) takes ac count of this and in his setting or orchestration often writes Brahms' Requiem Tape quite consciously against the natural tendencies of the per former, b) that dynamics now operate only on one level, whereas in old music of the Schuetz period two levels clear Any member wishing a tape of the ly exist(22). Brahms' Requiem performed at the ACDA FOOTNOTES National Convention, is requested to send 16. In the preface to the Psalmen Davids, Op. 2, no. 19: to the Historia del' Auferstehung, Op. 3, 1623 (SWV 50); also to Musikalische Exequien, Op. 7 (SWV 279281); a very detailed a standard length t.~a=--,-",-,--!,:::: preface in the basso continuo part to Geistliche Chormusik, Op. 11, 1648 (SWV 369-396); to Symphoniae Sacrae m, Op. 12, 1650 (SWV 398, etc.); to Historia del' ••. Gebuert ..• Jesu Christi, (SWV 435); also the Ordinantz to Da Pacem (SWV 465). 17. Preface to Symphoniae Sacme II, 1647 (SWV 341-367), especially in the violin-part to No. 27 (SWV 367). epartment 18. General markings, such as "strongly, gently," "sing humbly", in the preface to the Psalmen Davids (see note 16) Idwestern University and to Da Pacem (ibid.); the Symphonia·e Sacrae II (see note Wichita Falls, Texas 76308 17) contain specific indications: for the voice-parts forte and piano, for the instruments "humbly" and "bravely." 19. For example, he advises the four viols and the Evan gelist in the Historia von der Auferstehung (see note 16) Be sure to include proper "fleissig zu practicieren" (to practice diligently), especially the passage a tactus; likewise in Symphoniae Sacrae II (see return address and postage. note 17). 20. Quoted from Christoph Bernhard, On the Art of Sing ing and Ornamentation, No. 10. CHORAL MUSIC I T At last, a master catalog of Choral Music In Print, an exhaustive compilation of all the choral works in the catalogs of over 200 ,"usic publishers throughout the world, arranged for easy access by composer or title. This 100,000-entry work in two volumes, Sacred and Secular, provides information including composer, title, arranger, voicing, instrumentation, seasonal usage, publisher, publisher's number, and latest prices. Since the various editions of a work appear together it will make comparison easy for librarians, choral directors, church musicians, music educators, and other users. Both volumes will be supplemented annually_ Volume I: Sacred Choral Music available December 31, 1973. Volume II: Secular Choral Music, available March 31, 1974. Prepublication prices through November 15, 1973: Single volumes: $22.00 paperbound, $30.00 library binding Two-volume set: $40.00 paperbound, $55.00 library binding Prices after November 15, 1973: Single volumes: $25.00 paperbound, $35.00 library binding Two-volume set: $45.00 paperbound, $63.00 library binding Postage and handling prepaid if payment accompanies the order. MUSICDATA, INC., PHILADELPHIA, PENNSYLVANIA PUBLISHERS OF IN-PRINT SERVICES IN THE FIELD OF MUSIC MUSICDATA, INC~~~~~ ______I ______Dept. A, Suite 1104, 18 W. Chelten Ave., Philadelphia, Pa. 19144 Please send me the following ~oPies Choral Music In Print: Number of copies Sacred Choral Mu~ic: . .. •. paperbound, ...... library bi nding Secular Choral Music: pa pe rbou nd, library bi nding Two-volume set: paperbound, library bi nding Name: ...... •....•...... •...... •...... Address: Zip: ) Enclosed is Pa. residents add 6% sales tax. ) Please bill me. OCTOBER 1973 19 4 :00, rehearsals of special ateliers again begin or end? Europa Cantat V 4 :15-6 :15, dinner 6 :30-8 :00, and the One of our missions was to evaluate final evenings concert 8 :30-10 :30 and the possibility of an American Cantat then a chant commun until 11 :30 p.m. ! in the future. Dr. Hirt and I came to HARVEY E. MAIER The Chant Commun is so different ~everal conclusions: Secretary-Treasurer of ACDA than our general conception of a com- 1. If ADCA doesn't sponsor an Ame munity sing. The music sung consisted rica Cantat, some other organization will. In Autun. France, in the beautiful val of the cultural heritage of the different We are convinced of the soundness of ley of Burgundy with its hillsides dres choirs present. Michael Praetor ius "Viva the idea of' "pacem in terris" helped' sed in grape arbors. the Europa Cantat Musica" was the usual "opener" every through achieving an understanding of met for ten days from July 27 to August morning. The numbers sung by the 2200 our common cultures through the medium 5. 1973. Meeting once every three years, assembled voices ranged from G. Ga- of music. the Cantat hosts from 2.000 to 3.500 brieIi's '·Plaudite. PsaIIite, Jubilate" to 2. We believe that college age and -singers---in anorgy-of--music;-=-- Bach:s-"Dlol"ia--in-Excelsis Deo','Ao~Mel- .. community::g:roups-,wouJd.-·be~interested,:,,: It was with pleasure that vice presi choir Franck's "Da Pac em Domine." in meeting with other students from Cen dent Charles Hirt and I attended the Danish. English. Spanish, Portugese and tral and South America and Canada in Cantat as guests of the European Fed other folk songs were lustily sung yet an' exchange of musical ideas leading to eration of Young Choirs. Being among always with good taste, fine tonal sound. peace. the 2200 participants from college and and great expression. Members of the 3. With the continent's outstanding community choirs in fifteen countries was different ethnic choirs provided the cor- conductors, singing the finest music of a thrill in internationalism. The number rect pronunciation for their folk songs. the ages. hearing the ethnic songs of would have been greater had it not been To hear these people singing together each country and making friends with necessary to change the meeting place was a great way to start and end the others from choirs representing 10-15 from Holland to France. Since the go day. foreign countries, we believe these ad- vernments support the Cantat. the late The Petit Concerts were given by the vantages and enticements would be change necessitated a curtailment in sup various choirs enrolled in the Cantat. enough to lure support for an Amer'ica port as it could not be included in the There were usually three or four con- Cantat. hudget. certs going on at the same time making 4. We think that Our first Cantat The students were housed in armv your choice of which concert to attend should be scheduled for 1977 as an out barracks, schools. and other facilitie~. the greatest challenge of the day; for growth of our 1976 bi-centennial cele Meals were served at a central facility all concerts were quite good and had bration. The time between now and then and were models of good food, efficiently unusual qualities to present in style. eth- could be used advantageously in estab served. Each student received a meal n ic veracity, and historic interest. Also Iishing contacts, creating interest, and ticket and could buy a drink ticket (coke, the concept of tone of the different securing funding for the festival. wine, beer) for one franc (26c). To see choirs challenged one's thinking on how With these few ideas in mind it these students eating together and hear it was achieved and if it were the most would be interesting to hear from ACDA the flow of fifteen different languages desirab~e tone for that music. The Kib- members as to their ideas for an America made one conscious of contemporary butz Choir from Israel had a most en- Cantat. Would you like to take part in choral sound such as that of Penderecki ergetic tone for their folksongs; yet such an adventure? Would you bring and others in their writings. when they sang di Lasso's "Super flumina your chQir? Any suggestions or ideas? The rehearsal halls were of all kinds. Babylonis" they achieved a beautiful. Is "pacem in terris" worth working for? shapes and sizes. "The Creation" was gossamer tone in complete contrast t~ I think we can all agree on that. The rehearsed in a huge, empty warehouse, their folk singing. The concerts were stature achieved by ACDA in such a the choir taking up only a third of the held in the theatre, concert halls, audi- venture would challenge us all and make space. Other rehearsals were held in toriums, and churches. The music gen- us truly national and international. t·: gymnasiums, auditoriums, and in church erally represented the clllltutal heritage es. Most directors used only a tuning of the choirs with choral gems of the fork to give pitches and all the work in ages bei:>g included. either at the begin GLENBROOK SCHOOLS TO the early stages was a, ca,ppella,; piano ning or at the end of the program. accompaniment was used only prior to One could continue to describe the HOLD IMPROVISATION CLINIC the rehearsal -with the orchestra. The many details of this Europa Cantat - choirs and their directors were diligent but one factor of great importance aside Dr. Bert Konowitz of ManhattanvUle College, Purc'hase, New York, will be in their tasks and the results showed from the musical enjoyment and partici guest clinician at a Choral Improvisation in the final' performances. Soloists were pation must be mentioned. Clinic to be held for the Glenbrook High professional artists from Switzerland and The theme "Pacem in Terris" was the Schools at Glenbrook, Illinois, South High Germany. The attitude of the sing'ers and the last weekend in October. Frequently overriding mission of the Cantat. To combining musical resources for major conductors seemed to be to produce the watch these people eating together, ex productions, the choirs partiCipating in finest qU11ity of music possible, with changing ideas and mores of living; this event are the Master Singers and the m::lst authentic interpretation and the laugl:ing over common rehearsal experi Concert Choills of South, directed by audience seemed to expect only the best William Schnell and Miss Becca Ruben. ences; seriously discussing music and and Glenbl.'ook North's Chamber Singers of sound and professionalism. Attendance their directors' interpretations; rehears and Choral, under the direction of David at these evening concerts challenged the ing their special number even on the L. Walter and Miss July Moe. The pri capacity of the huge 3,000-seat Cathedral. street; (imagine walk' ng by a sidewalk mary purpose of the clinic is to expose Glenbrook students to ,the unique experi The daily schedule was a busy one cafe where 12 young people are busy ence of vocal improvisation with Kono beginning with the Chant Commun or rehearsing Bach's "Magnificat !") ; walk witz who has pioneered new techniques Community Sing from 8 :30-9 :30; rehear ing the streets to the next concert to in performing and teaching improvisa sals of special ateliers or choral groups gether; all these and more shared ex tion. He was recently awarded a grant from the National Endowment for the working on a master work 10 :00-12 :00 : periences: who can tell where interna Arts to develop choral improvisational lunch 12 :15-2 :00; Petit Concerts 2 :30- tional friendship and peace on earth compositions. 20 THE CHORAL JOURNAL ahler th, Berlioz Fau t The Westminster Symphonic Choir is taking on both of these gigantic works thisyear. Not without trepidation, you can be sure, for the vocal demands are certainly formidable. But undergraduate choirs, even those at Westminster, are not often given the chance to perform these monumental works, so we just couldn't pass up the opportunity. Besides, we have the vocal forces to pull them off. (With 480 singers, we could have even handled the first performance of Mahler's "Symphony of A Thousand.") Berlioz, La Dam,nation de Faust: November 8, 10, and 13; the New York Philharmonic, Pierre Boulez conducting. In addition, on April 9, 10, and 11, the choir will perform Antal Dorati's The Way with the National Symphony and Mr. Dorati at the Kennedy Center; and on May 24, 25, and 26 will perform Mozart's Coronation Mass and the Bruckner Te Deum with William Steinberg and the Pittsburgh Symphony. But, our season of orchestral performances will begin this month when, on October 19 and 21, the Westminster Touring Choir will perform Christ lag en Todesbanden with the Pittsburgh Symphony and Mr. Steinberg. All in all, it's going to be a very good year. Westminster Choir College rrExcellence in Choral Performance" eneugh investigaters and lawyers to' cen sistently pelice 250,000 scheels and church es. Hewever, the picture is net entirely bleak. Fertunately, people invelved in church and scheel werk and pregrams are ef a gener.ally high meral character, and when the situatien has been explained, strong suppert haJs ceme ferth in a number of WALTER S. COLLINS instances. Fer example, ,the New Yerk, This department censists ef reprints ef articles frem ether periedicals Texas, California, Wiscensin and Massa and excerpts' frem previeusly published literature abeut cheral music The chusetts ,state asse'ciatiens ef the Music cl~eice o.f materi~ls ~e be reprinted is based en the editer's judgment ef' what Educaters Natienal Cenference have pas wIll be mfermatIve, mterestmg, amusing, er prevecative to' the readers ef the sed reselutiens eutlawing the use of il Choral Journal. Suggestiens fer future selectiens and letters ef cemment will legal cepies ef music in their state be welcemed by the editer. They sheuld be sent to' Dr. Walter .s. Cellins, Cel- spensered events, semetimes making the sien and disqualificatien." Hopefully, ether greups and state 8JSseciatiens will cemprehensive, general reVlSlen of' the fellew their lead. Seme 'church deneminatiens alsO' have Editor's Note Cepyright Law will be enacted during the peried ending December 31, 1974. been active in their suppert ef observ In the Octeber, 1971 editien of this ance of the Cepyright Law in regard to' celumn appeared an article by Edward The Extensien Act "freezes" all cepy righted werks new in the renewal or illegal cepying ef cepyrighted music. Very M. Cramer, President of Breadcast Music, streng statements have been published by Inc., entitled "Musi'c Teacher, De Yeu secend term ef cepyright and keeps them effective ,threugh tha't date. It means that the Reman Cathelic, Lutheran Methe Steal ?". The article, which had been re and S?uthern Baptist urg printed frem The Music Journal, peinted any werks bearing a cepyright date of ~ist Chur~hes 1906 er later may be under the full pre mg cemplIance ef their members, and eut that the grewing practice ef pheto there are probably ethers. cepying cepyrighted materials not enly tectien ef the law. If in deubt, write to' the publisher whese name appears The temptatien to' make and use illegal is illegal but that it is alsO' endangering cepies is prebably still great at the day the entire music publishing industry up en en the music. At this mement, nO' ene can autheri te-day grass-reets level, but once teachers which perfermers depend sO' heavily. and directers truly understand that the In the January, 1972 issue of The tatively predict the precise werding of certain centreversial sectiens of the new majer share ef the serieus cempesers' Choral Journal, Dale Fisk ef Cencerdia and publishers' cempensatien can only Cellege (Oregen) respended to' Cramer's bill that will be presented to the Cengress fer a vete. Hewever, the legislatien has ceme frem the purchase price ef the article in a letter to' the editer. He op printed music, they will usually try to' pesed the cenceptef reyalties fer per been under censideratien fer ever eight years and the majer pertien ef the bim replace any illegal cepies as qui'ckly as fermance, which has been prepsed fer pessible. It is the enly way to' assure the revised cepyright law under discus has been set fer seme time. All parties 'cencerned have participated in the evelu that a centi~uing and fleuri'shing supply sien in the Cengress fer several years. ef new mUSICal werks - and instruc At abeut the same time, the editer ef tien ef a new bill. tien~1 materials - will be preduced, ad this celumn received anether respense One ef the majer prepesals fer the new bill, en which there new seems to' be vertIsed and made available fer purchase. to' Cramer's article in a persenal letter Other signs ef suppert have alsO' been frem Leuis Diercks ef Eastern 'New Mexi substantial agreement, weuld change the term ef cepyright pretectien fer new enceuraging. Last year, the Music Pub {:e University basically supperting Cra lis?ers' Asseciatien effered 'cepies of a mer's pesi'tien and prepesing that ,pub werks to' a peried equal to' the life of ~:>rlef statement en Cepyright Law, urging lishers sell enly ene cepy ef a cheral the cempeser plus fifty years. This is presently the minimum term ef copy ItS. suppert and ebservance, to' cellege and scere at a price which weuld give them UnIversity Student Chapters of the Music a fair return sO' that they ceuld then right in almest every ceuntry in the werld except the United States. This Educaters Natienal Cenference fer dis permit phete-cepying. tributien to' their members. Faculty Ad This editer felt that the eriginal auther previsien is especially impertant to' the "serieus" cempeser and his family and visers ef the Chapters respended by ask sheuld be given an epportunity to' reply ing fer ever 6,000 cepies ef the statement, to these twO' ,peints ef view, but Cramer publisher because eften a cempeser's tetal life's werk is net recegnized, appreciated and many wrete letters ef ,persenal ap has deferred to' the Music Publishers preciatien and suppert. Asse'ciatien which has previded Da Capo and perfermed until the cempeser is in his mature years, and in seme instances, One of the areas where there is a with the fell ewing new article. Its auther werld ef difference between inceme frem Richard Lindreth ef Shawnee Press wh~ like that ef Charles Ives, after his death. Anether impertant censideratien in the "pepular" music and that frem "serieus" is chairman ef the Public Relatiens Cem music is the use ef cepyrighted music mittee of the MPA, describes his state life-plus-fifty-years term ef cepyright pre pesed fer the new bill is the frictien and en recerdings. The statutery rate fer the ment net as a rebuttal to' the Fisk and use ef a selectien on a recerding, under Diercks letters - w.hich are new ap ill-will that the present United states Cepyright Law causes in the internatienal the present law, is twO' cents per selec preaching twO' years eld - but as "an tien en ea'ch recerd manufactured. The up-te-date pregress repert en cepyright, musIc cemmunity. Fer example, a U.S. cempeser's music is pretected fer life difference between inceme frem recerd accentuating the pesitive." Da Capo is ings of "pepular" and "serieus" music happy to' effer this space to' the MPA plus-fifty-years in Canada, Great Britain, France, Italy and sO' ferth, but cempesers becemes ebvieus when yeu realize that fer discussien ef an issue which is so ene ef the largest recerding cempanies crucial to' all censumers ef cheral music. in these natiens de net receive the same treatment in the United States, -where attributes 95% ef its sales to' "pepular" their werks are subject to' the present music and 5% to' "classical and serieus U.S. law which was enacted in 1909. jazz, cembined." While awaiting passage ef a new cepy Still anether area to' be dealt with in A REPORT ON COPYRIGHT right act, hewever, there have been seme the prepesed legislatien is that ef per LAW FOR SCHOOL, CHURCH significant develepments under the pre fermance rights. Under the present law, sent law that deserve breader publicity. music used en radiO', televisien, and in AND CONCERT MUSICIANS One area that has caused cempesers and stadiums and cencert halls is subject to' publishers severe headaches and loss of fees enly where the perfermance is fer This repert en the United States Cepy inceme in recent years has been the prefit, and in such event the cempeser right Law was prepared by the Music mushreem-like grewth ef phetecepying and publisher are cempensated. Obvi Publishers' Asseciatien ef the United machines and ether quick and easy 'eusly, mest ef the music perfermed under States (MPA). The member cempanies (theugh net necessarily inexpensive) these auspices is "pepular." ef MPA publish mest ef the music per ways to' make illegal cepies ef cepy In scheels and churches, the situatien fermed in the scheels, churches and cen righted music. is different, and in a way, semewhat cert halls in this ceuntry; the "serieus There is abselutely nO' questiening the cenfusing. There is nO' fee required fer music" publishers, sO' to' speak. fact that this practice is illegal, even perfermance rights fer music used in Cengress has passed 'and the President under the present Cepyright Law. At the usual wership service, and there has signed an Interim Cepyright Exten the same time, there is nO' practical prebably will net be under the new law, sien Act with the expectatien that a new way fer cempesers and pUblishers to' hire either. And there is nO' fee required if 22 THE CHORAL JOURNAL 0)/UYn Ute --__--, Ferrell, and the Arroyo. Chamber Singers A final word of recognition is, due of EI Monite, ,CaJifornia with director. Paul Koutny, director of the Council on' Richard R. Kelley, presented outstanding Intercultural Relations, whose untiring concerts during ,their Vienna stay as efforts have made possible five annual Executive Secretary's well as learning the four Bach motets choral Symposia' in Vienna· 'and Venice '----~-~e4k. during the two-week period. with this year's ,second session· being The first week found Nigel Rogers, held the last part of August with several In a· report to the membe·rship, your English countertenor, working with the choirs in attimdarme. To keep the record Exe'cutive Secretary had the pleasure of choirs and participants and culminating straight, although we appeared as repre attending the June Symposium, co-spon in a 'collaboration with Frau Dr. Cerha sent!lltives for all ACDA members, we sored ·by the Council on Intercultural in a fascinating demonstration of Baro undertook the trip entirely at our own Relations and ACDA at Vienna. Despite que ornamentation an'd accompaniment. expense, and were delighted to represent a small enrollment and the constant prob Dr. Cerha's 'series of demonstration lec each of you. :-: him of a declining ,dollar and rising tures throug>hout the symposium on Ba European prices, the two week sympo roque accompaniment were one of the sium was ,climaxed with one of its most highlights of ,the session. outstanding concerts when the Illinois DUES PAYMENTS FOR State University Madrigal Singers and To all present it was a privilege to the Arroyo Chamber Choir joined forces work with and observe Helmuth Rilling, ASSOCIATE STATE MEMBERS to present the four Ba:ch double choir who is profiled eIsewhere in this issue. Motets under the superior direction of His sincere love for Bach and single To those Associated State members who Helmuth Rilling of stuttgart, Germany. minded purpose in discovering and draw have not as yet paid their 1973-74 dues, Using instruments of the baroque period ing out a masterful performance of the we urge you to remit your payments to accompany the choirs, the presentation Bach works from his choirs were a joy directly to your State Trea'surer as listed was a firs,t for Vienna and the accla to behold. We had the pleasure of visit on the President's page. Itt is your way mation of the audience in the Minoriten ing with the Rillings in Stuttgart in July of supporting your state organization by church brought a ·repeat of the excitingly and attending a two-day rehearsal of giving them extra funds with which to pa:ced All Breathing Life. the Gaechinger and Frankfort Kantoreien operate the state ,program. SpeCial notices Both the ISU Madrigal Singers of and the Figural 'choir of the Gedaechtnis accompanied last year's nO'tices but this Normal, IllillOis, with their director, John Church as they prepared the three-choir year they were omitted. We hope this Pater Noster of Max Reger and other note will help to rectify the omission. works. R. Wayne Hugoboom, Working with deceptive ease in a quiet Executive Secretary a school musical group performs a con unassuming manner, Rilling conveys his 'cert for non-profit educational purposes. wishes to the choir in simple gestures The fifth International American Boy (But if a worship service or a school which produce thrilling results. He and choir Festival will ,be 'held next Dec. 28- concert is broadcast over radio or tele the Gaechinger Kantorei, one of the most Jan. 1 in Seattle, Washing>ton with the Vision, the broadcaster must be licensed satisfying choirs we have ever heard, is Northwest Boychoir, under the direction for performing rights.) engaged in recording all of the Bach of Jerome Wright, acting as hosts. Fur Among the inconsistencies under the Can,tatas and Motets under the Claudius ther information is available from the present law: if a church choir decides label of Munich. A }i.st of completed re American Boychoir Federation, Connells to stage a Christmas opera, with people cordings, will be available soon. ville, Pennsylvania. acting while they sing, they are required to negotiate for performing rights be cause they are then producing a dra matic work, and the composer then has the right to be compensated. It's a fine line between the two types of rights. Just Published Also, a school chorus can sing - in concert - a portion of the music from serious contemporary operas or Broad way musicals without clearing the ,per formance rights. But, again under the CLEMENT JANEQUIN present law, if a school group stages 'part or all of an opera or a musical, the composer then becomes eligible for compensation. Here the only difference LE CHANT DES OYSEAUX is whether performan'ce of the work is "grand" (that is, with costumes and/or scenery and/or dialogue from the opera (The Song of the Birds) or musical) or "small" (partial, without the dramatic elements). One otlier development in the field of SATB a cappella $2.00 compensation f.or ·performance rights can be reported, and that has to do with con servatories and schools of music where there is an a:ctive schedule of non-profit Although Le Cha.nt des O'j'sea.lf..t' by Clement Janequin has always faculty and student recitals and concerts. been considered one of the' most charming settings of secular vocal __~A~hey are not req~unde~ the present law to ,pay for performance music of-rJre-I-6thc-errtury;-it apparently-has never beenpubltshecI-hin"----','l--1---- rights for the music they use, a number practical edition with an added English text. The present edition is of these institutions have, in fact, already signed licensing contracts with ASCAP intended to fill the gap and thus make this remarkable piece more and BMI, out of a sense of obligation widely accessible. to the 'composers and publishers who are helping to keep music a lively and living art. The situation will continue to change, JOSEPH BOONIN, INC. as all situations do, and as developments occur, the Music Publishers' Association P.O. Box 2124 - South Hackensack, New Jersey 07606 will try to keep the "serious" music 'community informed. At this juncture, it is of the greatest importance that all Sole agent in Canada: people concerned with and about music as an art, work together at preparing E. C. Kerby Ltd., 198 Davenport Road, Toronto 5, Canada the way for a viable future. We earnestly Eolicit your support and cooperation. :.: OCTOBER 1973 23 PAUL E. PAIGE, (Head, Review Section), Grand Canyon College, JAMES E. McCRAY, Music Dept., St. Mary's College, Notre Dame, Phoenix, Arizona 85017 Indiana 46556 Concordia, Editions Salabert, Mark Foster. Hansen, Ludwig, C. F. Belwin·Mills. Edward B. Marks, Oxford, Richmond. Warner .Bros., Peters, Summy.Birchard. Schmitt Hall & McCroary . .J.QI:I"I D_OVARAS.LJ~lr~o::lor.of Choral Activities, Oakland University, FRANK N. SUMMERSIDE, Chairman, Dept. of Music, Westmar Col· -'Rochester N1icliigaii '48063' .. . - - .~. ~·-lege,~"e.·Marso=IA-5103,1c=-=,=.== •• ~.--=,=.. ==.==,.===,=·====1 .. · .. , .. · Augsb~rg, Bourne, G.I.A., Neil A. Kios, Pro Art, Theodore Presser. Boosey & Hawkes, Chappell, Frank (Bo,ton), Lorenz, E. C. Schiro mer, Word, Inc. CLEVELAND L. HOWARD, JR., Dept. of Music, University of New CRAWFORD THOBURN, Dept. of Music, Wells College, Aurora, NY Hampshire, Durham, NH 03824 13026 Alfred, Cambiata, Galaxy, Hal Leonard, Shawnee Press, Walton Abingdon, Carl Fischer, Lawson.Gould, MCA, J. W. Pepper, G. ( Plymouth) . Schirmer, Volkwein. ADVERTISERS not listed above as Industry Associate Members of ACDA will forward octavos for reviewing to: MRS. RUTH E. WATIS, Box 2298, East Tennessee State University, Johnson City, l'N 37601 AUGSBURG PUBLISHING HOUSE ly enhances the simplicity and beauty of pears in this -collection. Voice parts lie e hymn tune. Recommended for adult well within the comfortable ranges of L. L. Fleming offers three arrange-' , 1 cf choirs. young Singers. For Church, junior and ments of spi-rituals appropriate for th senior high ensembles. better Jr. high mixed choirs and chutc e Than Raiment. Johannes Petzold, youth ensembles. The pieces are published -E, 11-1682, 30c, (E). A lovely setting Two other compilations by Fred Bock separately, but were originally composed Matthew 6:25, 26, 28, 29, written in a are worth noting. First, his Things T~ as a unit entitled "Three About Jesus." ordal manner and employing mildly Sing for SSA, Gentry-G602, $1.95, (E). Ea{!h is repetitive, but made interesting issonant harmonies. No technical prob The uniqueness of this collection is in through textural variety, with easy rhy s. Nice. Recommended for the adult his choice of literature. A,t~e made pop thms and traditional harmonies. Church h :~h choir. ular by Julie Andrews lies hand in hand with a selection from Handel's oratorio choir directors should look at these, e HEODORE PRESSER COMPANY pecially Ride On, King Jesus, SATB 1i- "Joshua." His attempt to give young 0541, 25c, (E). The others ar€ Every Time ce, Peace. Rick and Sylvia Powell, singers what they want alongside num I Think About Jesus, SATB, 11-0539, 30c, a ai;tged by Fred Bock, 3 voices/key- bers they should want is a healthy con ~E) and Give Me Jesus, SATB, 11-0540, ard, Gentry-G4013, 35c, (E). cept. Usually, at least in collections this 39c, SID). o \ those who like the traditional. The writer has reviewed over the past few lither Eternal, Ruler of Creation. Ar r pe . ive duet line in section one serves years, a Julie Andrews number would be ged by Walter L. Pelz, mixed voices a kind of descant to "Silent Night" in included in collections exclusively con in unison, congregation, brass quartet,- e final portion of the number. The taining pop tunes and vice versa regard . Ill-pani, organ, 11-1977, 50c, (E). ird voice part 'can be sung by the audi ing the "heavier" choral classics. Tunes ence or congregation. Arranger Bock sug- like "Scarborough Fair" and "Time Is My 'ommissioned for the opening service Friend" -can lead youngsters into Pur of the '73 Conference on Worship, this gests you include handbells, flute, violin or other instruments to further ornament cell's "Lost Is My Quiet" and Grieg's "A beautiful melody from the Genevan Psal Swan", if the director guides his young ter (1551) is divided into a short instru \the piece. No problems. For junior, senior h,ig ch ruses or church youth -choirs. singers properly. For junior and senior -mental introduction and five sections. high treble choirs. The first stanza is for congregation and \ \ ristmas Choral Present. Compiled organ, followed by the men, trombones, \edlted by Fred Bock, SATB/key Bock's other collection is Praise God organ and timpani on the second stanza. r Gentry-G604, $1.50, (E). And Sing. SATB/keyboard, Gentry-G599, $1.95, (E). Offers 10 anthems, 2 calls of All instruments join with th€ congrega otpourri of seven "happy holiday worship and a closing benediction res tion for the third verse of the hymn. a thems" and three responses by various ponse. Aside from a token selection from There then appears a setting for women, p esent day composers and arrangers, in the classic repertoire, the book contains trumpets and organ, and closes with a c uding Dale Wood and Jason Roberts. music written by contemporary com statement by full choir and organ. The Each number is also available separately. posers during the Jast decade or so. For inclusion of the brass -and timpani great- Th~ above mentioned "Peace, Peace" ap- the adult or youth church choirs. A rish Blessing. Robert W. Jones, S , Elkan-Vogel 362·03140, 35c, (E). tender almost wistful anthem THERON KIRK wr :ped in mildly dissonant harmonies. Thi 'i:z. a refreshing change from the norJIlal type closing benedictions. For FOUR SEASONS SONGS youth or adult church choirs. Variants On An Irish Hymn. John Ness S. A. T. B. with Piano Beck, SATB/piano or organ/optional Optional Flute and String Bass snare drum, Beckenhorst Press-BP1002, 40c, (E). 1. Now Welcome Summer (Chaucer) ...... 5767 30c A majestic musical setting on the text 2. To Autumn (Keats) ...... 5768 30c "Be Thou My ViSion," from The Poem 3. Winter (Shakespeare) ...... 5769 30e Book of The Gael. This anthem travels 4. Spring (Nashe) ...... 5770 35c through a series of variations, starting with a quiet unis-onal statement by the men and closing with a forceful divisi BOOSEY & HAWKES rendition by 'all voices. May be accompan- 24 THE CHORAL JOURNAL ied by a band or orchestra; parts avail Never Weather-Beaten Sail. Gordon Christmas fare for the average church able from the .publisher. Traditional har Binkerd, SATB, 5847, 30c. This is a good choir. The set is comprised of hymn monies. Recommended for the adult example of the literature that does not tunes by William Billings, Daniel Read and from Hastings and Warriner's colle'c church choir. catch the eye or ear on first acquain tance. But start ·again on page 6, bottom, tion Musica Sacra 1818. All' of them are Joe, The Temporary Reindeer. Joyce homophonic, with only a short stretch of Eilers, two-part/piano, Gentry-G-223, 35c, and play to the fermata on page 7. Then ask, "Where does this 'come from, and "fuguing" in the Daniel Read "While (E). where is it going." Then as those ques Shepherds Watched," which is the middle Egads! Blitzen has been replaced by tions are answered you will find all eight selection in the set. "Methinks I See a Jose the donkey. A clever text with sim pages have something to offer you and Heavenly Host" which is BOOSEY & HAWKES, INC. Practical reprints from the critical edition edited by Bernard Bailly de Surcy. Credo. Stephen Allcock, SATB, 5853, 30c. Each reprint contains the original Italian text and a keyboard reduction with Meter ranges from 3/4 to 7/4. Good inter underlying English, French and German translations. play of text between alto-tenor and sop rano and bass. Contains rather high tes ER 1 I. Ch'io ami la vita mia; II. Se per havervi, oime $.50 .50 situra for tenor, and bass section must ER 2 III. Ache tormi il ben mio; IV. Amor per tua merce. .50 have a secure wide range. Fine oppor ER 3 V. Bad soavi e cari; VI. Se por non mi consenti. .50 tunities for dynamic 'contrasts within the ER 4 VI I. Filii cara e amata; VII I. Poi che del mio dol ore. piece. The challenge is in the melodic line ER 5 IX. Fumia la pastorella; X. Almo divino raggio; .75 and the harmonic choices. The ending XI. AII'hora i pastori tutti. .50 may have a tendency to become coarse ER 6 XII. Se nel partir da voi; XIII. Tra mille fiamme. stridency rather than glorious light due ER 7 XIV. Vsdam ninfe homai; XV. Questa ordi il laccio; .75 to the high tessitura for all voices on the XVI. La vaga pastorella. .50 final page. Utilizes an Edwin Arlington ER 8 XVII. Amor s'i1 tuo ferire; XVIII. Donna s'io miro voi. XIX. Ardo si rna non famo; XX. Ardi 0 gela; XXI. Arsi e als;, .75 Robinson text. ER 9 And Will You Leave Me So? Robert Also available: Baksa, SATB, 5816, 30c. This in 3/4 throughout. The ranges are well wlthm The First Book of Madrigals (ISB7) Critical complete edition, ed. by the capabilities of all choirs. If there are Bernard Bailly de Surcy. $15.00 some high notes in the bass part, the ten Facsimile of the First Book of Madrigals. The part-books of the or section does not happen to be singing 16.00 during that measure and could easily fill 1621 Magni edition. In slip-case in. The selection is particularly suitable for a smaller group; chamber choirs take LES EDITIONS RENAISSANTES note. The Model Housekeeper. Jack Beeson. PARIS - NEW YORK Women's voices, 5815, 60c. This collection subtitled "Nine Rounds and Canons for Sole Agent in the U.S. and Canada Women's voices" with the collection Ev eryman's HandynIan, Jack Beeson, Mens' voices, 5817, 50c, nine rounds are two JOSEPH BOONIN, INC. fine additions to the repertoire. They are challenging! The challenge may be too P.O. Box 2124 - South Hackensack, New Jersey 07606 great except for the more advanced high school groups and college choruses. 25 OCTOBER 1973 CHORAL REVIEWS - are clearly indicated as editorial, and a passage "enter into his gates with thanks keyboard accompaniment which is an giving", the 'composer somehow manages probably work ,best with a small to adaption, rather than a transcription, of to avoid the triteness frequently resulting medium sized group. the full score. Although this is generally from such an obvious compositional de adequate, I feel that the set would sound vice; the end result is a short, rhythmi-cal, CARL FISCHER to best advantage with the original string exciting anthem, most useful for church accompaniment. There is a set of ,parallel rather than school choirs. A new release in Fischer's Moravian octaves in the accompaniment at measure Music Series is a modern performing 64 in the first anthem which may be a STIMULI, INC. edition of Johann Christian Geisler's Ode proof-reading error, as the same passage Several wO,rks of Clarence Jos. Rivers For 'Children's Day for two equal voices appears harmonized in conventional fa- have come to the attention of this re with accompaniment, edited by Marilyn shion at measure 11. The style of these viewer. Included in these works are Hail Gombosi (eM 7846 $.40 - String parts anthems is lyric, ,reminiscent of Pergolesi Mary, $2.00 (arr. Henry Papale) a con available on rental). The title of this or Johann Adolph Hasse. The first two temporary setting of the traditional set of three anthems .is somewhat of a are more successful than the third, which words - with four alternate suggestions misnomer, relating as it does to the seems awkward and rather amateurish for performance including unison, solo C.hildren's Festival .for which it was ori- by comparison. Taken separately,~~~ as _~_~n~~esc~.E!- .. so!.? ~~c! .S.i\.TJ3 ..()h<:lJ:'U~' all~. gmally~composed=cm.=,1'764j="'rather=than=·agr01ip-;-·tliese worlLS'woulir:iilaK"e an: in" ' sOlO';-clescant ana 'SATB chorus; :A Mas being descriptive of the textual content, teresting addition to the repertoire of sianic Psalm, $2.50, also with several al which is appropriate to the Advent sea- a women's chorus or a good children's ternatives suggested; Witness of Christ son. T'he titles of the three anthems, choir, and mi ht function as a change (arr. William ·Foster McDaniel) offering which might be parformed independently of pace for th soprano and alto sections the soloist opportunity for gospel-jazz im- of one another, are "Our Soul Truly Is of a mixed v ice church choir. provisation. All of these works are inter- Waiting for God", "He Stands Before A n w an by Austin Lovelace esting, different, and printed with impres- The Door And Knocks", and "His De- Love La s pon Thy Face (CM 782i sive covers on heavy stock paper. Also lights Are In The Sons of Man". Ob- SATB a $ 30) is a sensitive 1'0- available are the servi'ces of the composer viously conceived for treble ~oices,,, t1;e mantic s ti . of the poem by D~nald for personal, de.tailed. conSUltation con v?cal parts are not. really eq~al. m\tUghes. The cc paniment being simply cermng any of hIS musIC. eIther range or tessltura, but lIe m a a reduction of t vocal parts, doesn't -Ruth E. Watts comfortable .area for s?prano and a~to. dd anything to the piece and therefore Ms.. Gombosl h8;s. prOVIded an EnglIsh dught w~ll be dispensed with. Smooth verslo~ of the orlgmB:l german. text, so~e v,olce leading and rich harmonic progres C. F. PETERS dynamiC and expreSSIOn markmgs WhICh siOiJ.~ en lance the lyricism of .this setting, Four motets for unaccompanied chorus, which s Id make it quite effective Op. 246:1-4, by Alan Hovhaness: David given t proper context in a service. wept for slain Absolom, SSATBB and B ove' Redeeming Worlt Is Done by solo, 66448, 11 pp., no price (M), text from R e J. Powell (CM 7824 SAB accomp. II Samuel. The word of our God shall SACRED $.3. is a vigorous, effective treatment of stand forever, SSATBB II-nd B solo, 66507, verses by Charles Wesley. The composer 8 pp., no price' (M), text from Isaiah. (SATB unless otherwise indicated) has s ecified that he prefers piano rather Heaven, SATB, 66509, 14 pp., no price / (M), text by George Herbert. A rose tree c,AMENS (From Hymns and than organ accompaniment for this an the?). I am not sure why, as there is blossoms, SSATBB, 66515, 6 pp., no price E Responses for the Church (ME), text by 'composer. Organ reduction ,Year) .... V. Persichetti .25 notlying in what he has written which is "un-organistic", and in fact, there are inclu'ded; total performance time 21 min ./COME LET US SING (Org.) some sustained chords in me'asures 48-56 utes. arr. M'. E. Caldwell .40 which would definitely benefit by the use The writing throughout is predominant L VA NEW SONG (Unison/2-part of organ. Also, as the treatment is es ly homophoniG, occasionally in combina accomp.) sentially strophic, variations in timbre tion with one or two melismatic parts. B. Burroughs/F. Bock .35 in the accompaniment might be a wel Regular rhythmic pulse and tonal direc come feature. This setting has rhythmic tion are minimized, with far greater em E.. /PIED BEAUTY .. L. Widdoes .40 vitality, variety of texture in the vocal phasis placed on the free movement of PRAISE HIM, PRAISE YE writing, and mildy dissonant harmonic 'chords (often with modal or chromatic THE LORD treatment, all of which helps to 'create overtones) and subtle dynamic shadings. r The motets are not intended for perform A. Caldara/W. Ehret.40 a successful vehicle for this well-known \arL/' text. A useful addition to the literature .ance as a unit, yet they do differ in many PRECES AND RESPONSES for church choirs which have difficulty respects from each other: l-most dra /' (a cap.) .... A. Greiner .35 in fielding an adequate tenor section. matic, with greatest contrasts in texture U\SIDE BY SIDE -Crawford R. Thoburn and dynamics. 2-flowing lines, almost : J. Wood/Po Johnson .35 polyphonic. 3-mostchordal. 4-most ap T I proachable, with open, 'clear format. 'SIX CLOSING RESPONSES NEW MUSIC CO., INC. Recommended for college, advanced (either Unison voices w/org. HE church, and interested high school choirs. or SATB, a cap.) e Frozen December - Thomas A. Mil Canticum gaudii (Song of joy). FloI' I arr. W., F. Russell .50 l ,NMA-l02, 1973, SATB, 30c. Peters; SATB, 2 trumpets, 2 trombones, SLEEP, MY SAVIOUR, SLEEP Tl ugh a bit late for consideration for and organ, 66426, 9pp. (full score), no ·, (SAB, Org.) , thi y ar's Christmas repertOire, this price (ME): set of instrumental and chor ! arr. M. E. Caldwell .35 ~uni ue ~e..tting and free translation of a us parts included; Eng. text only, from O tra itionat Catalonian Carol is worthy of Psalm 91. I SOUND AND FURY (2-part con ideraJtion by directors looking for a treble vcs" a cap.) Imaginative and effective music, from qui~t, rather close-harmonized selection. the opening and closing fanfares (voices J. Britton .30 Ralfge .()f the melody carried by sopranos in unison and parallel fifths) to the quiet is nllld with in the E minor octave. The N A TROPHY OF HIS LOVE er (more fully harmonized) middle sec P. Johnson .40 " contrasting middle section finds treble tion. The writing is notably concise, with I divided into three parts with bas oices 'un offending dissonances, clear texture, !WASH ME, 0 LORD GOD sep olding a low pedal point E. The con and brisk tempo. The instrumental "ac S I (SA) I ing section is like the first but calls II G. Pergolesi/R. S. Hines .35 ~f\ a soprano solo descant for interest companiment" dominates this work as, in turn, it alternates or combines with tid variety. Not overly difficult. Writ~ ~ 130 for a selection of the chorus, and provides lengthy inter I:t\lake A Joyful Noise (Psalmloo) Thom ludes. Highly recommended for church, ~ference copies. a~, Ai Miller, SATB, accompanied, NMA high school, and interested 'colle choirs. lqt, 40c. Tl1eodore Presser CO.' . pSirlg the traditional scriptural words, MARK FOSTER thiS anthem manages to inject real ex Remember me. Halsey Ste Elkan-Vogel, Inc. Ci~ment' and a certain originality into unaccompanied, EH 10, 6 pp., Bryn Mawr, bo h voice parts and accompaniment. ME), text by Christina Ro P~).9010 M dulating by half steps on the repeated board reduction included. 26 In Remember me, steve~tures in. organization for performance. His ideas exqUisite manner tlj,e aunting melan about marking the score are good. Coor choly of the, te t. Ini se, slow moving, dinating the musicologist into the over syllabic and 'ch rdal, I he music presents all picture, Walter S. Collins advances only interprett e oblems for the ac- DANIEL J. BRENNER, Dept. of Music, Gon realistic observations and suggestions on complished ma orbs (college or cham- zaga U., Spokane, WA 99202 (Head) choral editing and performance practice. ber); for limi \ chdirs the tenor range His annotations are well advising; the (low d to high a) I04g'\Phrases, and final WILLIAM P. PEARSON, Dept. of Music, example he uses ("Let Thy Merciful Ears East Los Angeles Coli., 5357 E. Broadway b,ass pp on middle pose difficulties. o Lord") is succinct and clearly estab ~ray Ave., Los Angeles, CA 90022 ( All in all, an iIPortant addition to lishes his po~nt of view. Daniel Moe re three-part male cho ,al literature, highly JOE E. TERRY, Chairman, Dept. of Music, veals the chaUenges of ,performing con recommended. \ " Jefferson Davis Coli., Brewton, AL 36426 temporary choral music, draws signifi cant attention to problem solving tech JAMES E. WILSON, Chairman, Dept. of niques and presents a view to the mount- CHARLE HAl~'sEN Music, Greenville Coli., Greenville, IL World's greates~.ts of popular chorals. 62246 Thirty-six stock rangements by Harry Dexter (9), MHtogers (5), Arnold Freed (4), Jay Arnold (4), Chuck Cassey (4), CHORAL CONDUCTING - YSYMPOS Lou Leaman (3), John Edmondson (2), IUM, by IarOld A. Dec :er and Julius Just published and ,Pete King, Don Muller, Bill Oliver, Herford, ppleton-C ury-Crofts, 440 William Stickles, and Clay Warnick. For Park Ave ue Sou ,New York, New SSATB, piano, and one brief S solo; 160 York, 100 6. pp., $3.50 (M to ME). A SONG FOR This is a ell organized collection of The arrange mentes are standard ones, with little variety, in either vocal texture articles, repre~e ing a composite of acute THE NATION! contemporary\}flought on varying aspects or piano accompaniment. The choice and of the choral conductor's art and science. range of songs, however, is extensive, and It synthesizes opinions 'and representative by this may be' a factor in your evaluation applications of some of our most eminent of the collection. Among those included Malcolm McGrath practitioners. These essays serve as a de are "I'd like to teach the world to sing," "The candy man," love theme from "The pendable and convenient guide to the, SATB hopefully, ever-inquiring choral musician. Godfather," theme from "Kotch," "Cher Howard Swan's "The Development of the ish," "Ode to joy," "Everything is beau Choral Instrument" embraces, in his A timely composition for today and tiful," "Joy to the world," seven numbers methodology, useable concepts from the ideal for mass choirs or school festivals. by Bacharach. For interested high school six "schools" (which he catalogues very choirs and vocal groups. ". . . Keep all noise and strife beyond clearly, e.g., Williamson, Finn, Christian our shore . . . Grant that wars may cease sen, Waring, Shaw, etc.), collated with EDITIONS SALABERT his own concepts. Lloyd Pfautsch re for evermore." :Umbrana. Branimir Sakac, 12 vocal minds the reader of some excellent basic HC 4041 $.45 soloists (SSSAAATTTBBB) unaccompa rules of thumb in preparing the choral nied, 40 pp., no price (D) score is xeroxed: text composed ,of numerous vowel sounds Write for complimentary copy. and a brief appearance of the word "alle- luia". Contemporary music, consisting of spo Cris. ,Maurice Ohana, 12 voices (SSSA 7hr Frrderick 11\ f!J 0 ken and sung indefinite pitches and AATTTBBB) unaccompanied, 42 pp., sounds (all. scrupulously indicated), or $19.00 (D). HarrisllflJW§[J(C ganized with obvious thought and care Nuits. Iannis Xenakis, 12 voices (SSSA CO. Limiled into a completely musical work. Indeed, AATTTBBB), 50 pp., $12.00 (DM). Box 670. Oakville, Ontario. Canada 5 pages of directions (in French) pre -Paul E. Paige cede the s'core, and discuss pronunCiation and each of the 27 special markings for sound effects required in the music. Even so, the conductor will need to spend some time in preparation, as ambiguities do SACRED MUSIC magazine, now in its 100th year of publication, is arise in the score. While intricate and the oldest continuously published music magazine in the United States seeiningly complex, the work is designed (successor to Cae cilia 1874-1964 and The Catholic Choirmaster 1914- with an artist's sensitivity to nuance, 1964), and the official quarterly of the Church Music Association of I climax, and form. If your advanced sing- America. i, ers have had previous experience in this medium they will enjoy Umbrana.. This If you are interested in the opinions of professional musicians con Ii is avant-garde, music of quality, highly cerning the latest developments in serious Catholic liturgical music, recommended for professional and college subscribe to SACRED MUSIC by writing to the Circulation Manager. I singers. (The 4th page of directions and p. 34 of the score are lightly xeroxed, ,I and somewhat difficult to read.) :-----yIf.---cyO=o"'uO=--=a-=r"'e-"ln=-t.. e''''r""e-=sT'te=d,.-~m~)~n""v=e=s=t=lg=a~t"')=n~g~-I---MI'S~Richar.d-I=I~DI'8s,-Ci~culation-Manage~'------I------this type of music further, the following SACRED MUSIC works, composed prior to 1973 but not 11016 Strayhorn available for sale until this year, are also Dallas, Texas 75228 available from Editions Salbert. I wish to become a Voting Member ($12.50 per year) Trios motets. Charles Boone, SATB un .... I wish to become a Subscribing Member ($7.50 per year) accompanied, 6 pp., $3.00 (MD); Eng. texts, settings of poems by E. E. Cummings: (Please make checks payable to the Church Music Association of Amercia) (1) 0 round moon, (2) Luminous Tendril, Sample copies sent free upon request. (3) Moon over towns moon. Traditional notation is used. Danae. Francois - Bernard Mache, 12 name voices (SSSAAATTTBBB) and percus sion, 92 pp., $22.50 (D); performance time address 16 minutes. Dodecameron. Ivo Malec, 12 soloists state zip (SSSAAATTTBBB) unaccompanied, 36 city pp., $12.00 (D). OCTOBER 1973 BOOK REVIEW - REPLY TO ing excitement of both choirs and audi JOHN VAN NICE ences involved in. the adventure. A well chosen representative list of Twentieth Dear John: Century choral works is included, as isa practical e:x:ample dealing with 'contem Thank you for your note and the copy 'porary music from one 'of his own com of your article in the Choral Journal. positions. Julius Herford, in his review The thoughts are timely and well stated of score analysis - using four outstand and they prompt the following: ing examples from Requiems by Mozart, 1. What opportunities do we provide for the average band and choir member SELECTIONS FROM Berlioz, Brahms, and Faure - presents a view of consideration to detail which post-high school? Don't we really pat conductors of all 'choral works (with or them on the back, tell them it has been JESUS CHRIST without ins'trumentation) would be well nice knowing them, and that we wish advised to evaluate for their own use. them weIl? How many "alumni" choirs of books, periodicals (unfortunately omit regarding the church choir ting the publications of NATS and are very true. Most do not offer a mu MTNA) , articles, and other references sical Challenge, even some with teacher concludes this "must" reading for serious directors. And, how often do we build t!horal musicians. a fierce allegiance to the particular high school group, sometimes at the expense of teaching musicianship? 2. In reality, what are we teaching high DIVAS by Winthrop Sargeant, Coward, schoo<1 singers? Are we providing enough McCann & Geoghegan, Inc. (200 "learning" that they can acquire skills Madison Ave., New York City) 1973. by which they can function individually Hard Cover, $7.95. in music? I don't think you'll have to For those interested in learning more research this question to any great ex With Piano (or Organ) and about the personal and professional lives tent to find what I suspect is all too Optional Amplified Guitar, of great opera stars, Divas wiII prove true. We are having a great social time Bass Guitar and Percussion fascinating reading. It is a collection of and tea;ching some nice literature some what haphazardly by having a few "read Lyrics by Tim Rice six portraits of the top sopranos in opera: Joan Sutherland, Marilyn Horne, Birgit ers" carry along a lot of singers who Music by Andrew Lloyd Webber Nilsson, Beverly SiIIs, and Eileen Farrell. are not really pressed to become musical. Arranged by Nell Slater Sargeant says, "I wish to make it clear Therefore, the average high school sing that this is a book about singers, not er is not prepared to function in the Here is a brand new choral people who hold microphones in front sele'ct coIlege choir - and he knows it. selection of the show stopping of them and croon. My subjects are Furthermore, the social atmosphere in the athletes, linguists, scholars and every college choir is not so closely knit and tunes from Broadway's smash thing 'else that it takes to make a great he gets his social kicks elsewhere. musical, now an exciting operatic artist . . . A fine operatic 3. How much high school teaching is motion picture•••• artist has spent years in training the personalized to the extent that the "teach Heaven on Their Minds voice to go through hurdles, and in study er" (director) knows each voice and ea;ch ing roles in several languages. student's strengths and weaknesses? How Superstar Divas tells of the private and public many high school singers see the choral I Don't Know How To Love Him lives of these 'prima donnas': their ca experience as a voice-class learning ex reers, families, thoughts and hopes. Says perience in which he may develop his I Only Want To Say own talent to the extent of his ability? (Gethseniane) Kirkus Reviews: "Sargeant's casual, a posite, personalizingcandids project the 4. In the case of boys, how much do Everything's Alright performer and enlarge the medium in a our young teachers know about handling ••. we got it all together way which distances beyond the devotee the boys' ,changing voice, and how many alone." of them can select literature that will in one outstanding medley! turn on young men and keep them From his early training as a musician, turned on? Much of the literature pre SATB ... $1.25 SSA ... $1.25 Winthrop Sargeant developed into a com sented in 'choral literature classes is poser, teacher, ethno-musicologist and selected because of its "musical qualities" writer. He has worked for the now and this is great, but we must also defunct New York American, for Time More great choral selections consider that kids today must be moti and Life magazines, and finally for the vated and we have failed, I believe, to from Broadway Musicals...• New Yorl{er where five of the six por teach ,choral directors to make that moti $1.00 each traits in Divas were originally published. vation intrinsic, :.: 5. Are choral directors 'really being CINDERELLA (SAT B) (Hammerstein-Rodgers) educated to be concerned for the indi vidual child's development or are we FLOWER DRUM SONG 'J'EACIDNG SINGING, by John Carroll (SSA-SAB-SATB-TTBB) sending out teachers who are so music- (Hammerstein-Rodgers) Burgin, Scarecrow Press, Inp., P. O. Box 656, Metuchen, New Jersey 08840, THE KING AND I (SSA-SATB-TTBB) (Hammerstein-Rodgers) 290 pp., 1973, $7.50. NO STRINGS (SSA-SATB) TEACHING ,sINGING is a compre (Rodgers) culture published between 1941 and 1971 hensive, up-to-date compendium of the (803 items, author-arranged, with subject OKLAHOMA (SSA-SATB-TTBB) vocal art. Designed as a textbook in (Hammerstein-Rodgers) index) will serve as a valuable biblio vocal pedagogy, it utilizes a comparative graphie tool for the librarian and re THE SOUND OF MUSIC approach in presenting the variOUS con (2-Part-SSA-SAB-SATB-TTBB) searcher in voice production. (Hammerstein-Rodgers) tributions ,to singing instruction which This work employs an approach similar have appeared in the published literature SOUTH PACIFIC (SSA-SATB-TTBB) to that used by Victor Alexander Fields (Hammerstein-Rodgers) from 1941-1971. The author has gathered in his Training the Singing Voice, pub and classified the 'concepts used in train STATE FAIR (SSA-SATB) lished in 1947, which ,covered the litera (Hammerstein-Rodgers) ing the singing voice, analyzing the pro ture from 1928 through 1942. Dr. Burgin's minent approaches to the vocal art. TWO BY TWO (SATB) study is the first one to update Fields' (Rodgers-Charnin) Principal chapters cover pedagogy, research. breathing, phonation, resonance, range, Dr. Burgin is Assistant Professor of dynamics, ear training, diction and inter Music at Northeast Louisiana University_ MCA MUSIC 445 Park Avenue, pretation. A complete, fully-annotated His Ph.D. is from George Peabody Col New York, N.Y. 10022 bibliography of the literature on voice lqe H 28 THE CHORAL JOURNAL oriented that they -can't see kids for PHI MU ALPHA the notes? 6. How many high school singers and ELECTS OFFICERS players have been "burned out"? Even worse how many have been exploited Phi Mu Alpha Sinfonia Fraternity re through the present curse of extensive cently elected a new sla,te of officers to travel, and is it possible that some~ay serve for a three year term. J. Eugene begin to suspect that they are being Duncan, Dean of the School of Humani Beauty used to get someone a better job or a ties at Morehead, Ky., State University, bigger name? I fear that this is a possi was named national president. Erwin bility. S'chneider, head of the University of In I would likE) very much to see the Iowa's Music Education Division, was AODA come to real grips with the prob named firs,t vice-president; and Robert Harmony lems you have exposed. I'd like them to C. Soule, Central Connecticut State Col take a very dose look at the kind of lege, was named second vice-president. Modern styles and choral educators we have in the field Executive committeeman-at-large is Ro lightweight fabrics in and the training of future choral edu bert E. Marsh, Ball State University, cators. I have seen very little real 'choral Henry Charles, Illinois Wesleyan Univer colors and shades to training in my visits to schools this sity, is ',the new -chairman of the Council augment any choir's year. I am most disheartened over the of Province Governors and Maurice I. quality of instruction. It is mediocre at Laney, Eastern Michigan University, will appearance. Send for the very best. serve as ,the second member-at-large. n is clear to me that there is a direct your FREE catalog, correlation between the quality of instruc TODAY: C-23 (Choir tion and the amount of involvement in --***- choral programs in the junior and senior The Moravian Music Foundation of Robes and Accesso high schools. Kids in school today are Winson-8alem, North Carolina, has been ries); J-23 (Junior looking for ways to learn. I have yet to awarded a 3-year grant from the Na see kids who did not want to improve tional Endowment for the Humanities to Robes); F-23 (Fund themselves. I have seen many teachers continue cataloging its extensive collec tion of music manuscripts and early Raising with Collegiate who apparently could not have cared less for the personal skills and under printed music. With matching funds from Candies ). standings which their students were ac the Winston-Salem area, the Foundation quiring so that they might function in will continue work started in 1956 on music used by Moravian musicians in music after graduation. In this day, we Pennsylvania, North Carolina and Ohio had better be looking at this dimension from as early as pre-Revolutionary times. of choral teaching if we are to survive Over 100 sacred songs, anthems and in - literally. strumental works have been published to Pardon me if I get "preachy" about date. Be sure to notify us this, but I am really concerned with if you have any what I see and hear. It is obvious to me that we are not teaching kids first and Remember to patronize our advertisers. CHANGE OF ADDRESS music second - too many teachers are either not properly ,prepared or are only interested in their own ego gratification. If there were ever the opportunity, -.. ----..., I'd like to tell the ACDA what I feel are principal areas with which they need -- to be concerned. ugtlJ !fOIn Thanks again for the article. You're helping to get some wheels churning and we need to churn up a lot of teachers. Sincerely, E. Richard Shoup, Ph. D. -g6urg Supervisor, Music Education Columbus, Ohio / I ~ Build a little Fence ;of Trust Jean Berger / SATB a cappella i 35c MONOGRAPH PRICES QUOTEtJ ,I1f You Receive My Words Knut Nystedt A avant-garde pjece for mixed chorus a cappella. In order to better serve members w~h-I v I Price to be determined ing multiple copies of the ~CI?A Mrno graph, A Guide for the Begl11lll1lg Cloral • The Embodied Word - A reflection on the Incarnation Directol', the Executive Secretary's ffice Text by Chesteriennington Music by Walter Pelz will furnish the book at $1.50 per copy ~ SATB, SSA, na7ator, flute, percussion, piano, and organ. plus $1.00 postage and handling for ~ i Price to b.e...det;JJteoJruml.l1Jinu.e""'d______I _____ 10 copies ordered. Smaller orders and single copies remain at $1.75. • TraditionaVthristmas Carols An attfa~tive illustrated booklet of eleven favorite -***- carols""complete words and music. By an almost 3-1 margin, ACDA mem ~ I 15c ea., $1.65Idoz., $12.00/100 bers approved the recent decision of t?e ---- Executive Committee and Board of DIr ectors to increase dues for ,the next year because of constantly rising costs and need for more services at the state and local level. As of July 1, 1974. an'lual active dues will be $15.00 with Life Mem 426 S. 5th St., Minneapolis, MN 55415 bership moving up to $200. Dues for all 57 E. Main St., Columbus, OH 43215 students and for retired ACDA teachers 3224 Beverly Blvd., L.A., CA 90057 at $5.00 per annum were established at 2001 3rd Ave., Seattle, WA 98121 the National Convention last March and went into effect this July 1, 1973. OCTOBER 1973 29 Selinsgrove, Pennsylvania. Gene Bruck has been appointed Con- NOTES OF INTEREST Other festivals sponsored by the Inter- sultant for Performance Repertory, Music International Festivals, Inc. have an- national FestivaLs, Inc. include those 8:t Department, of Oxford University Press, nounced ,plans for the 1974 Oa3ctepec, Galway, Ireland Coventry, England; Inc., of New York. Bruck, whb began his Mexico International Festival of Music Rome, Italy; Nassau, Bahamas; and Ber- duties in September, is a mu~ic graduate with three separate sessions during April muda. of Columbia and studied oboe at Juilliard. and June of 1974. The 'choral festival, -**>t,- He was recent:ly 'coordinator of concert titled "Magnificence of Polychoral Music" repertory for ASCAP and editor of the will be held April 10-15 with double and Artists in Schools, a book that captures American Musical Digest. A recipient of triple ,choir works programmed for the the excitement of artists working with ,a Rockefeller Foundation grant on prob event. Open to American, Canadian and students and teachers in classrooms a- lems of recording and distributing con-' Mexican organizations, further informa': cross the Clountry, is the latest publication temporary American music, Bruck also tion may be obtained by writing to P.O. of the National Endowment for the Arts. was le'cturar in Contemporary music at Box 485, Charlevoix, Michigan 49720. Jointly funded by the Arts Endowment New York University. Orchestra, symphonic and marClhing band, and the United States Office of Educa- ...:....* * *- stage ,band and chamber orchestra fes- ~ion, the prograJ?l is one of the most Chappell-California, a branch of Chap- tivaIs~wi1r "occlir"Apri1~15~22 'and"Ji.me' 24=' "'Imp.orta,nt-In"makmg-the arts'more,wideIy"""' peHcMusic,"eompany;=has'moved-,-to=new='~'c_' July 1. Director of ,the 1974 Festival is available to all Americans. The book is quarters at Suite 615, 6255 Sunset Boule James Steffy, chairman of the Music av'ailable fr?m the Superintendent of Doc- vard, Hollywood, California 90028. In Depavtment at Susquehanna University, uments, Umted States Government Print- creased activity necessitated the move ing Ofice, YVashington, D.C. 20402 fO! to' a large, more modern office. Los $2.75 postpaId. Include stock No. 3600- Angeles members of the firm are Clive 00015 with all orders. Fos, David Jacobs and Jon Devirian. N STATEMENT OF OWNERSHIP MANAGEMENT AND CIRCULATION (Act of August 12, 1970: Section 3685. Title 39. United States Code) I. Title of publication: The Choral Journal. 2. Date of filing: September IB, 1973. 3. Frequency of issue: 9 issues annulO'lIy; Monthly September through May. 4. Location of known office of publication: (not printers) 7514 North Hubert, Tampa. Hillsborough Co., FL 33614. from WILLIS 5, Location of the headquarters or general business offices of the publishers: (not printers) 75!4 North Hubert, Tampa, Hillsborough Co., FL 33614. 6. Names and addresses of publisher, editor, and managing editor: Publisher: American _BREAK FORTH, 0 BEAUTEOUS Choral Directors Association, tvlorris D. Hayes, Pres., U of W, Eau Claire WI 5470 I. HEAVN'LY LIGHT (SSA)- Editor: R. Wayne Hugoboom, 10616 Coqllita Lane, Tampa, FL 3361B; Managing Bach in the Christmas Orataria- Editor: Same as above. arr. Pitcher ...... •...... ,. .35 7. Owner: American Choral Directors Association, Harvey E. Maier, Secretary-Treasurer, _EVERY BLESSING WE ENJOY B332 Ensley Lane, Leawood, K~nsas '66206. (UNISON OR SA)-Hymn-tune B. Known Bondholders, mortgages, and other security holders owning or holding I percent Melling-arr. Brandan ...... 25 or more of total amount of bonds, mortgages or other securHies: None. _FREEDOM SONG (SATB)- 9. For optional completion by publishers mailing at the regular rates (Section 132.121, Will Lawrence ....•...... 25 Postal Service Manual) 39 U. S. C. 3626 provides in pertinent part: "No person _GIVE EAR OH YE HEAVENS- who would have been entitled to mail matter under former section 4359 of this Sacred sala--Selby ...... •.• .75 title shall mail such matter at the rates provided under this subsection unless _NOW LET EV'RY TON9l:tE ADORE he files annually with the Postal Service a written request for permission to mail THEE (SSA)-Bach in Sleepers, matter at such rates." Awakel-arr. Pitcher ...... 35 In 05ccordance with the provisions of this statute, I hereby request permission _THE NUT TREE (Der Nussbaum) to mail the pubilcation named in item I at the reduced postage rates presently by Schumann (SSA) --arr. Pitcher .60 authorized by 39 U. S. C. 3626. _PRAISE GOD IN NATURE (SATB) Signed, R. Wayne Hugoboom, Editor. --Scattish Gaelic Hymn- 10. For completion by nonprofit organizations authorized to mail at special rates (Sec arr. Pitcher • . . . • • • • ...... 75 tion 132.122 Postal Manual). The purpose, function, and nonprofit status of this _THIS IS HOW WE WARM UP organization and the exempt status for Federal income tax purposes have not (SATB)-Anson •.••.•...... 25 changed 'during the preceding 12 months. ' _THY WORTHINESS IS ALL OUR Average no. copies Actual no. of copies of SONG (2-part mixed)-Hymn- II. Extent and nature of circulation each issue during single issue published tune Leichester-arr. Brandon .. .25 preceding 12 months nearest to filing date _WHEN THE SAINTS GO MARCH· ING IN (SATB)-withtrumpet A. Total No. Copies Printed (Net Press Run) 5700 6200 abbl.-Humphreys .••••.••••. .20 B. Paid Circulation _WISDOM OF PATRIOTISM I. Sales through dealers and carriers; street (SATB)--Scott Huston .•...... 30 vendors and counter sales None None 2. Mail subscriptions 5000 5320 Name ______C. Total paid circulation 5000 5320 Address ______D. Free distribution by mail, carrier or other means City ______I. Samples, complimentary, and other free State Zip___ _ copies 450 33B D On examination. 2. Copies distributed to news agents, but D Payment enclosed. not sold None None o Chg. to my Acct. # ______E. Total distribution (Sum of C and D) 5450 565B F. Office use. left-over, unaccounted, spoiled SEND TO DEPARTMENT J-l 073 after printing 250 542 G. Total (Sum of E & F • should equal net WILLIS MUSIC press run shown in A) 5700 6200 7380 INDUSTRIAL ROAD certify that the statements made by me above are correct and complete. FLORENCE, KENTUCKY 41042 Signed R. Wayne Hugoboom, Editor 30 THE CHORAL JOURNAL ACDA DIVISIONAL ADVERTISERS INDEX CONVENTION SCHEDULE Augsburg Publishing ...... 29 Joseph Boonin, Inc...... 10 EASTERN DIVISION Joseph Boonin, Inc ...... 23 February 22-23, 1974 J osepb Boonin, Inc...... 25 Copley Plaza Hotel Boosey and Hawkes ...... 2 Boston, Massachusetts Boosey and Hawkes ...... 24 NORTH CENTRAL DIVISION Collegiate Cap and Gown ...... 29 February 8-9, 1974 Concordia Publishing ...... 31 Hotel Fort Des Moines Des Moines, Iowa Harold Flammer ...... 13 Galaxy ...... C2 NORTHWESTERN DIVISION Hansen Press ...... C3 February 22-23, 1974 Ridpath Hotel Frederick Harris ...... 27 ELAINE BROWN Hope Publishing ...... C4 MCA Music ...... 28 E. R. Moore ...... 32 Musicc1ata. Inc...... 19 Theodore Presser Company ...... 26 Sacred Music ...... 27 March 8-9,,1974 Shawnee Press ...... 6 Royal Coach Inn Stimuli ...... 16.17 Dallas, Texas Westminster CoIlege ...... 21 WESTERN DIVISION Willis Music ...... 30 Jounary 25-26, 1974 ,AA ,A Hotel del Coronado San Diego, California Boys Choir of Fort Worth -premiered two choral program at the Holy Church honoring Mrs. J. Lee III, patron of the arts 1966 and First Lady of Fort Worth 1972. Schroeder, Hermann- WAKE, SHEPHERDS, AWAKE No.98-2068 $ .25 SAT, flute, 2 violins (or organ) ..~ SLEEP SOFTLY, BEAUTIFUL JESUS SATB, flute, violin, celio No.98c2069 $ .25 (or organ) NOW TO THE BABE SO TENDER No.98-2070 $ .30 SATB, flute, and violin (or org.an) DELICATE CHILD OF ROYAL LINE' Christmas SATB, 2 flutes or violins, No. 98-2071 $ .25 and cello (or organ) Bouman, Paul-STILL ARE THE HILLS Choral SATB with ad lib. violin No.98-2109 ,$ .35 Beck, Theo.-A CHILD IS BORN, THE SON OF GOD EVA MAE STRUCKMEYER SATB, organ, and 3 trumpets No.98-2156 $.45 Cartford, Gerhard-IDEO GLORIA No.98-2157 $ .35 Pictured above are three of our SATB choir and 3 trumpets contributors: Elaine Brown of the Singing City, Philadelphia, PA, whose Carley, Isabel-GENTLE MARY LAID HER CHILD Instruments· Unison with Orff instruments No.98-2158 $ .30 article appeared in the Sept. issue and who will serve as guest conductor Carley, Isabel-FLEMISH DANCE CAROL at the Nov. choral workshop in KY; Unison with Orff instruments No.98-2159 $ .30 Klaus Fischer-Dieskau of Germany, whose major a,rticle on Schuetz and 6 Distler began in September; and ~ Eva Mae So.'uckmeyer of Wausau, Write for a free copy of the r1"~~~la WI whose article appears in this new Concordia Choral Catalog ~ IIA1tffUlUt!l,MIUllOUlllfl.3110 issue. OCTOBER 1973 31 ~ -~ ~- ~~ ·E•••• ~.~ ~ - - Alabama-John W. Jennings, R. I, Indian Springs School, Helena 3,080 Mississippi-Jerry D. Williams, Box K, Miss. State U, Miss. State 39762 Alaska-Joseph McAlister (HS), Box 222, Wasilla 99687 Missouri- Wesley l. Forbis, William Jewell College, Liberty 64068 Arizona-Lane D. Justus, [HS), 4385 N. Camino Cardenal, Tucson 85718 Montano-Russell l. Creaser (HS), 204 19th Street West, Billings 59102 Arkansas-Michael F. Johnstone (U), P. O. Box 624, Jacksonville 72076 Nebraska-Lawrence Van Siambrook, :-Iastings College, Hastings 68901 California- Nevada-Douglas R. Peterson, Music Dept., U. of Nevada, Las Vegas 89109 North: Charlene Archibeque, California State University, San Jose 95192 New Hampshire-Cleveland l. Howard Jr., Dept. of Music, University of New __S_o.!Jth: Warren C, Marsh [HS) 1161 Glenair. Drive, Santa Ana 92705 Hampshire, Durham 03824 --Colorad~-C:Thomas McCormid (HS), 14825 West 58th PI~ce, G~id~"n 80401 New Jersey-"Clarence W:-Miller;Jr-:'-GlassbOi'OSfafeCollfi(jEi;-Glass60ro 08028-- Connecticut-Robert A. Regan (HS), 24 Webb Road, Westport 06880 New Mexico-Ronald L. Shirey, ENMU, Portales 88130 Delaware-Peter J. McCarthy, University of Delaware, Newark 19711 New York-Donald B. Miller, Onondaga Community College, 700 E. Water Street, Syracuse 13210 District of Columbia-Paul Hill (Ch). 3655 Calvert Street NW, 20007 North Carolina-Jo~1 R. Stegall, Mars Hill College, Mars Hill 28754 Florida-James C. Davis [C), 1503 Hilltop Drive, Tallahassee 32303 North Dakota-Dennis R. Mosser, Harvey High School, Harvey, 58341 Georgia-Max D. Pe.terson, West Georgia College, Carrollton 30117 Ohio-Lawrence E. Tagg, University of Dayton, Dayton 45409 Hawaii-Robert K. Nelson (HS), 686 Ainapo Street, Honolulu 96825 Oklahoma-John C. Yarrington (Ch), P. O. Box 2067, Norman 73069 Idaho-Wilbur D. Elliot, Music Dept., Boise State College, 1907 Campus Drive, Boise 83707 Oregon-l. Stanley Glarum, Lewis & Clark College, Portland 97219 Illinois-John E. Davis, School of Music, Bradley University, Peoria 61604 Pennsylvania-Daniel D. Shaw (HS), High School, Meadville 16335 Indiana-James E. McCray, Chairman, Music Dept., St. Mary's College, Notre Rhode Island-Ward Abusamra, U. of Rhode Island, Kingston 02881 Dame 46556 South Carolina-Milburn Price, Music Dept., Furman University, Greenville 29613 Iowa-Ronald P. Phillips, Senior HS, 1700 'Fourth Street S.E., Mason City 50401 South Dakota-Alan Stanga (HS), 2308 South Jefferson Ave., Sioux Falls 57105 Kansas-Rod G. Walker, Dept. of Music, KSU, Manhattan 66502 Tennessee-Lynn McGill, Tennessee Wesleyan College, Athens 37303 Kentucky-Bruce D. Hoagland, Eastern Kentucky U., Richmond 40475 Texas-James A. Ramsey, (HS), 1907 23rd Street, Lubbock 79411 Louisiana-James H. Friedman, 7887 Walmsley Aevnue, New Orleans, 70125 Utah-Ronald l. Wooden (U), 1660 Lakeview Drive, Ogden 84403 Maine-Gerald G. Chamberland, Gorham State Call., 19 College Ave., Gor- Vermont-Mrs. Susan Bevan, (HS) RFD #2, Windsor 05089 ham 04018 Virginia-Robert N. Stamback (HS), 1400 Blue Jay Lane, Richmond 23229 Maryland-Paul Traver, Dept. of Music, U. of Maryland, College Park 20742 Washington-Mrs. Loren Loper (CH), 6605 NE 191st, Seattle 98155 Massachusetts-Greg Larkin, Eastern Nazarene College, Wollaston 02170 West Virginia-Alfred R. DeJaager, West Liberty College, West Liberty 26074 Michigan-Thomas C. Hardie, Music Dept., Western Michigan U, Kalamazoo Wisconsin-Karle J. Erickson, Lawrence Cons. of Music, Appleton 54911 49001 Minnesota-Wayne M. Kivell Northfield HS, Northfield 55057 Wyoming-Carlyle Weiss, Dept., of Music. U. of Wyoming, Laramie 82070 Dress~up Holiday Concerts NewFabrics We have our own famous blends.ofsoftly rad iant Chromspu n ® fabrics, but we've added someth ing~ .' '. , luxurious new, wrinkle-resistant KN ITS that. are. hand washable; New Colors Four new ones added this season .. \', . , . ,:1 New Styles Camelot with butterfly.sleeves flowing elegance right down to the ankle length herp>.. Coronation softlytou with velv,et .•. Royalistvvith its own distinctive snap-on access()i'ies; Forpop~oncerts, consider something from ourSingwear coliecti0r:t":"'long skirts· in Antron® nylon prints,shirts and blouses in knits, vests and weskits ina variety of . . , designs.and fabrics. All are carefuily tailored to give your youth group a professional look. Write lor free color catalog -....I Please send a copy of your free Choir Robes and Accessories catalog. I D Have your representative call to arrange a showing of samples and fabrics. I We understand there is no cost and absolutely no obligation. I I Name' ______Title, ______I I '<', School/Church Name Ph a ne, ______7200 Nortll Caldwell Avenue I I Niles (Chicago), Illinois 60648 I Address ____,-- ____---., ______I Sho~r~oms: Niles,llI. I I . Los Angeles, Calif. , City' ______State~~----Zipl------I Carle Place (U.l, N.Y. , ______Best time to call JI THE CHORAL STORYTELLER SERIES III III .1 " A CHORAL PROGRAM CREATED AND ADAPTED FROM MARK TWAIN'S "L1FE ON THE MISSISSIPPI" BY ARNOLD FREED 1-----.--..IN"'T...E .. R... C"H-.-cA ... N....-;G""E---A ARRA~~G~E~D~F~O~R~~~~~~.. S""L'-'OE CHORUS (SA - SSA - SAB) ____~I.?~~~~~~~~~ ____ _ WITH NARRATION AND PIANO ACCOMPANIMENT Here, in his own words, is the story of Mark Twain's life as a steamboatman on the Mississippi River set against a choral background CHARlES HANSEN of authentic steamboat songs of the period as well as original songs written EDUCATIONAL MUSIC & books specifically in conjunction with the Twain narration to catch the flavor of the river, the steamboats and the men who sailed them. Write for yoUr@OPYfthe latest ArrfEJ,rJ..E.'me~"I'te;rr:f1,~greaeable Choral 18 0 BROAdwAY NEWYoRk,N.Y.l00n GhopaI GOIRPOS8PS GWEN BRUBAKER APPEAR IN THE HOPE 1973 NEW ISSUE LIST FOR THE FIRST TIME' You can receive a free seasonal packet plus one additional packet in the voicing of your choice. These are available at NO COST or obligation by filling out' and returning the coupon attach~d to your Church or School letterhead. . We regret that we can not make the free offer to students or others not now conducting a choir. Such in-.· terested persons are asked to remit $2.00 per packet requested. ALICE JORDAN L'ROY HICKS HOPE PUBLISHING • AGAPE • SOMERSET PRESS 380~CJ2 SOUTH MAIN PLACE • CAROL STREAM, ILLINOIS 60187 Please send me the 0 FREE SEASONAL PACKET No.8 and/or one of the following: o Packet No.1 - Ladies Voices (School & Church) 0 Packet No.4 - Mixed Voices (School) o Packet No.2 - Mens Voices (School & Church) 0 Packet No.5 - Mixed Voices (Church) o Packet No.3 - Childrens Voices (School & Churchl o Packet No.6 - Contemporary Folk Packet No.7 - Avant Garde' PLEASE MAIL TO: o Name ______ Street ______-'- ______ City ______State ______Zip ______ HOPE PUBLISHING • AGAPE • SOMERSET PRESS