"Song of Survival" is a film about the power of music that speaks to "Song of Survival": Performing the essence of the choral profession. In a World War II prison camp, Instrumental Music Vocally women sang the orchestral and piano masterpieces of great com­ by Patricia F. Hennings posers-Beethoven, Chopin, Dvorak, Tchaikovsky, and Debussy. Their music became a symbol of freedom and a tool for survival dur­ ing a brutal three and a half years of possessed their voices. Norah and "Country Gardens" were sen­ captivity. Written down entirely Chambers, a graduate of the Royal timental pieces of the period that from memory and arranged for four­ Academy of Music in London and an undoubtedly reminded the British part women's voices, this perfor­ experienced choral conductor, had captives of their homeland. mance phenomenon was the crea, an intriguing idea - that women Camp survivors have told that tion of two women captives, could sing the masterpieces of during rehearsals, Margaret Margaret Dryburgh, a natural classical instrumental music. Dryburgh, who sang second alto and musical genius and Norah Margaret Dryburgh, a fifty-year-old is said to have had perfect pitch, Chambers, a skilled conductor. Con­ English Presbyterian missionary, gave the starting notes. Conductor, ducting this music forty years I~ter, had an invaluable gift - an incredi­ Norah Chambers brought these ar­ for survivors of the prison camp, I ble musical memory. Together, with rangements to life. Because of her developed a deep respect for their nothing but pencil and paper, the skill, each rehearsal became a haven musical accomplishment as well as two women wrote down the music of from the drudgery and depriv\'ltion a first-hand knowledge of the Bach, Beethoven, Schubert, Grieg, of prison camp existence. As An­ technical lessons wordless music Handel, and Brahms, and arranged toinette Colijn Mayer says in the has for choral musicians today. The the works for four-part a cappella film, "It became very important to singing of instrumental music en­ women's voices, adding neutral get bars 32 and 33, in practicing, courages tremendous individual syllables to articulate the notes. The just perfectly. That takes your mind growth in the singer's awareness of women called their choir a vocal or­ off whether you're hungry, or thirsty, phrasing, of vocal purity and its ef­ chestra'. or dirty, or sick, or whatever." After fect on intonation, of vocal agility, The first concert by the vocal or­ sight-reading a new score, a cap­ and of the necessity for both the chestra had a profound effect on the pella, in the secrecy of the shed precise and elastic qualities of camp. Not only were the singers, behind the kitchen, the women of rhythm. Surpassing the technical who spoke different languages, able each voice part rehearsed separately lessons of the music of "Song of to speak with one voice through until they mastered all the notes. Survival," however, is the celebra­ music, but the beauty of their music Norah Chambers then put the voices tion of the message that through affected their captors as well. One of together, giving vocal syllables, music, hope can emerge out of the camp regulqtions was that no dynamics, tempi, articulation, and despair. large meetings would be permitted. phrasing orally since only a handful The music of "Song of Survival" The music of that first concert of the women could read music. Ac­ was created in a prison camp of changed that, as captor sat down cording to the women who survived Dutch, British, and Australian with captive to listen. the camp, the experience of rehears­ women and children interned near The vocal orchestra sang a total of ing was liberating in itself. Norah Palembang on the island of Sumatra thirty pieces that were favorites in Chambers, with her little band of during World War II. These women the symphonic and piano repertoire thirty half-starved singers, em­ and children were just a fraction of of the pre-war years (see appendix phasized for us the meaning of the the thousands interned in the Dutch for complete listing). There is a choral profession: to enrich lives East Indies after the Japanese oc­ tremendous variety of music in the through music. cupation in March, 1942. Some of manuscripts. The music includes The accomplishment of Margaret the internees were teachers, military both classical standards such as the Dryburgh and Norah Chambers, nurses, missionaries, and nuns while "Largo" from Dvorak's New World writing down from memory and ar­ others were wives of colonial Symphony and Tchaikovsky's "An­ ranging thirty instrumental pieces, government officials, military per­ dante cantabile" from the String is noteworthy. What musical sonnel, planters, and businessmen. Quartet in D, Op. 11 and light knowledge and technical skills Some were interned directly from classics such as Paderewski's would be necessary to prepare one their homes. Others were captured "Menuet a I'Antique" and Dvorak's manuscript for the vocal orchestra? after surviving the bombing and "Humoresque." These latter two 1. PRECISE MUSICAL RECALL sinking of their evacuation ships. pieces had been popularized in the a. What are the compositional Stripped of all tangible remem­ pre-war years, the "Menuet" by ~Iements of the piece, such brances of their past civilized lives Paderewski himself and the as melodies, counter­ and plagued by starvation and "Humoresque" by Fritz Kreisler. melodies, harmonies, bass disease, the imprisoned women still "Jesu, Joy of Man's Desiring" was lines, inner parts, rhythms, popularized by the well-known counterrhythms? British pianist Myra Hess who used it b. What is the structure of the Hennings is director of the Peninsula Women's Chorus of the San Francisco repeatedly as an encore. Other piece? How does it begin, Bay Area. works, such as "Londonderry Air" develop, end?

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February 1987 Page 25 c. What is the overall harmonic Example 1. scheme, including transi­ tions and modulations? 2. ALTERING THE COMPOSI- TION FOR VOCAL SINGING If the composition is too long or a phrase too un­ wieldy for a good vocal ren­ dition, how can the melodic and harmonic elements be condensed to retain a sense of balance and musical arrangement in Example 1.1 The arranged so that vocal timbres are rhetoric? cadential flourish is condensed (see contrasted. First sopranos and sec­ 3. ARRANGING THE COMPOSI­ brackets) to stay within the vocal ond altos sing these same lines at TIONS FOR WOMEN'S range and ability of the singers. The the distance of an octave. (Example VOICES sixteenth notes are also handed 2) a. What are the vocal ranges back. and forth between the first and Margaret Dryburgh's precise and timbres of women's second sopranos to prevent fatigue. musical recall is impressive in itself, voices? In Grieg's "Morning," the opening especially since she had no musical b. How should particular melody, which alternates orchestral­ instrument or score to check her chords be voiced for both ly between flute and English horn, is work. In Debussy's "Reverie," Miss harmonic and vocal color? Example 2. c. Can a feeling of variety be created, treating each voice part as an equally important entity with its own tone col­ I I I or? s-' 7 In answering some of the ques­ tions above, consider these ex­

amples. In Paderewki's "Menuet a I f' I'Antinque," compare the original f"' piano score to the vocal orchestra

Enjoy a RQYAL MllSIC ~XPERIENC~ in London this summer THE UCLA/ROYAL COLLEGE OF MUSIC PROGRAM JULY 4-25, 1987

For the first time in its illustrious history, the curriculum, which includes the following courses: Royal College of Music, in cooperation with • Master Class in Piano: Bach, Schumann, Debussy UCLA Extension, opens its doors to American • Choral Conducting students in a special summer program. The Royal • Music-Making in London through the Ages College of Music, one of the world's leading • Purcell and Britten . schools of music, invites American students, • Authentic Interpretation of Early Music scholars, and professional musicians to study • Master Class 'in Organ Performance where many of the international music commu­ and the British Organ Tradition nity'S most distinguished musicians and composers • Opera, Leider, English Song, and Piano were trained - among them Julian Bream, Accompaniment. , Benjamin Britten, James Galway, Andrew Lloyd For a free enrollment brochure and complete Webber, Leopold Stokowski, Dame Joan Sutherland, Ralph Vaughan Williams, and information, call UCLA Extension Sir David Willcocks. (213) 825-9496, or write to: UCLAIRnyal College of Music Program Participants in the program have an opportunity UCLA Extension, Room 414IACDA for study and performance in splendid facilities at P.O. Box 24901 the College, throughout London, and in various Los Angeles, CA 90024 other music centers in England. Concertgoing and field trips to cultural and historical sites within ~UClt1 and outside London are an integral part of the ~--=-_ EXrENSION

. Page 26 THE CHORAL JOURNAL Dryburgh was able to remember the Example 5.

harmonically intricate obligato line C.h orvS ::c \.1- c..horu;,:n: I with its seventh, diminished, and. ..-r1 n1 rr:J ",I).., I augmented chords and melodic . - I I passing tones. The lushness of these (f:JII) I I I (wo) 12- chords, which demand an advanced -P' ...::::::::::..-:=:==-z 'l '0 1/ knowledge of harmony, create a sen­ Ll- i ,L suality that must have been in direct contrast to the barren barracks com­ ~" r r cEo -r -rs. -; r' r' pound. r t r-" Frs:" r Example 6. Example 3.

1"'-1-. ld, Jc:.1-. bu..-I:::.

n1. ~"7 J11S\""" aa~ -\e. -Sho....:> "'.... ~c.u.\~O'" Example 4. tiate their characters. In the first chorus, the fluidity of the obligato Debussy's "Reverie," the first line is most easily achieved when sopranos articulate in groups of sung as a vocalise on "ah" (the lower four: (Example 6) This articulation voices add an "I" to help articulate allows the throat to stay open and Before I began rehearsing this their notes). The chorale tune in the the tongue relaxed, creating a fluid music with a present-day choir, I second chorus, interestingly left effect. asked conductor Norah Chambers without text, .contrasts this fluidity Singing continuously on pure what types of syllCjbles, she had with stability, utilizing a pure vowels has a positive effect on in­ chosen because none were written in syllable "100" to give the feeling of tonation. Without a variety of chang­ the manuscripts. For the introduc­ church bells. (Example 5) ing vowel sounds, as in standard tory phrase of Dvorak's "Largo," she When choosing an appropriate choral music, the harmonic tenden­ used "nuh" which creates a breathy syllable for each composition, one cies of pitches are more obvious to and mysterious timbre. As the main must consider not only vocal timbre the singer, producing better overall theme begins, the syllable changes but the effect of a repeated syllable intonation. to the more focused "Ieh." (Example on throat, tongue, and facial ten­ Singing instrumental music 3) In the middle section, "Ieh" sion. "Loo" is a good syllable for brings a multitude of challenges to a changes to "neh," the focus of the . slow, rich passages such as the main chorus. Without words, vocal music "n" adding a needed intensity to the theme of Debussy's "Reverie." When becomes extremely transparent, so sound. (Example 4) After a reprise of used quickly, however, the tongue that tone color, blend, intonation, the main theme, the opening chords tires rapidly, creating tension and phrasing, vowel purity, and the are revoiced, transforming them in­ altering the vocal quality. In shape of supporting lines are all to bright, full-bodi'ed chords that performing this rapid passage from much more obvious. The greatest create a sound of victory. It is this "Largo" by Dvorak, which was the initial piece of the first concert, that MONTREAT 1981 caused many of the internees to Conferences on Worship and Music weep. Perhaps it was the main theme, symbolic of freedom; A HOLY WEEK PILGRIMAGE Liturgy· Music· Drama· Dance perhaps it was the sight of the women captives, too weak to stand, for singing seated on their stools; but Palm Sunday through Easter Vigil most likely, it was the beauty of the Leaders: music itself. Arlo Duba Larry Smith Jean Ashworth B~rtle With the "Largo" as an example, Don Saliers Ann Jones Jane Marshall Norah Chambers encouraged me to Tom Jones Eugene Simpson Hal Hopson experiment with different syllables Catherine I(apikian Sally Herman Meribeth Bunch until I found suitable vocal timbres John Walker for the other pieces. * For Bach's "Jesu, Joy of Man's Week I: June 14-19 Desiring," which is arranged for Week II: June 21-26 double chorus, I chose different syllables for each chorus to differen- For brochure and registration form write: David W. McCormick, director *The syllables I have used in conduc­ Presbyterian School of PRESBYTERIAN ting the vocal orchestra music are "dah, Christian Education ASSOCIATION bah, nah, lah, duh, buh, luh, nuh, doo, 1205 Palmyra Avenue loa, leh, neh, bum, dum, and dum-te­ OF MUS1CIANS dum." Richn:lOnd, VA 23227 February 1987 Page 27 technical lesson learned by my Example 7. singers from the vocal orchestra music is how to shape and sustain a I phrase. The physical creation of the phrase becomes a communal ex­ perience, the choir's breath working I, ct!f .'1~ as an organic unit. In standard reper­ v;'TIcr V'7dt!T '~m toire, rehearsing on a neutral 4(. "1-7 "-Iff 4"J !)O syllable to emphasize the shape of I. the phrase is common practice. . Singing the vocal orchestra music ~. V"". on syllables, the singers become continually conscious of their ability agility, articulating phrases that are Raindrop," the musical figure J]1J to shape the phrase and therefore idiomatic to strings or winds. runs throughout. This piece con­ become physically involved in that The richness of strings can be tains many vocal gymnastics, phrase. In Brahms' "Waltz," Op. 39, heard in the opening phrases of mimicking the ornamental No. 15, each phrase must be Tchaikovsky's "Andante cantabile" flourishes so easily tossed off by a stretched so that the singers feel the in which the voices must resonate pianist's right hand. The entire first freedom of expression. The elastici­ fully. In the second section, the sec­ soprano section must move forward ty of the phrasing created in this V{CJY ond altos are given the full-bodied and hold back together without los­ sustains the mood of a balmy sum­ melody to provide the necessary ing the facile, individually ex­ mer night in Vienna. What a contrast riChness of tone. I use staccato with pressive quality of the line. (Exam- this mood must have made with the a slight swell < > in each ple 8) . tropical jungle night. measure of the first alto to create a The serene opening of Grieg's In her introduction to the first war­ crisp pizzicato effect. (Example 7) "Morning" yields to cascading time concert, Margaret Dryburgh As this section progresses, each sixteenth-notes that are far easier remarked that the "voices were not voice part has the chance to sing for strings than for voices. The dif­ trying to reproduce the qualities or both the melody and the rhythmic ficulty lies not so much in singing sounds of stringed or reed in­ pizzicato figure, demonstrating the rapid passages as in coor­ struments."2 However, the voices again the care taken in arranging dinating the voices in both tempo often feel like certain instrum~nts or this music. and pitch. (Example 9) are asked to acquire instrumental In Chopin's Prelude No. 15, "The Voices are also used to imitate in-

TEMPLE UNIVERSITY ~~~i:~n - DISTINCTIVE .. CHORAL CONDUCTING MASTERS' PROGRAM

In a city famous for music, Temple University has long FACULTY: Alan Harler, Director of Choral Activities, been recognized as a leader in choral music, both for the Jeffrey M. Comelius, Gail B. Poch, Janet M. Yamron, excellent performances of its choirs and for its outstanding Elaine Brown, Professor Emerita. Master of Music program in Choral Conducting. . ENSEMBLES: Concert Choir Graduate student conductors are given in-depth training Graduate Conductors' Chorus under careful faculty supervision and are afforded Recital Chorus opportunities to conduct the Temple choirs as well as University Chorale regular rehearsals and performances with the select University Singers Graduate· Conductors' Chorus. AUDITIONS: March 23-27,1987 Through their concert tours, broadcasts, recordings, and Program limited to 8 majors. performances with the major orchestras of this country and Assistantships available. abroad, the Temple University choirs have distinguished . themselves -- and their university. For more information, please contact: Alan Harlerr Director of Choral Activities Esther Boyer College of Music (215) 787-8301 Temple University, Box Cll Philadelphia, PA 19122

Page 28 THE CHORAL JOURNAL Example 8. Example 9. F=:::::- -J- I I """"""'f9 =.. k III A:kII'" -<11''' , 4f , , ..- I, "'V (" ,. , ,- , , ~~M f ~ ('Ii rrc"rD J n , '*"'ho ....ld bG 3z.nd, "C<\-"'" J~r 1 Jfff I In ",+",,,",,, o-f' I!.'"*"'" 30 .31 Example 10...... lI- I'l .... 11": . I,~C , I "1"""'ll 1\ '" ..I...... I .J " " " .r [' ~.-1fr+.- 5" 3(,. ~T' ,jh '-ON' music, at first for commemorative film will be shown at the ACDA na­ I r y t..--===' V concerts and then for the film "Song tional convention in San Antonio of Survival," has provided both a along with commentary by camp sur­ Examplell. fulfilling humanistic experience and vivor Helen Colijn and a performance a tremendous opportunity to im­ of music from the film by the Penin­ ~fi J I J I) oJ W) J J prove the skills of musicianship and sula Women's Chorus of the San UilUJJ choral singing. There are many Francisco Bay Area, directed by challenges for the choral singer in Patricia Hennings. strumental accompaniment figures. the vocal orchestra music that can Great precision, both of rhythm and result in marked growth in technical Notes pitch, is needed to sing the off-beats ability. At the same time, the vocal I The musical examples of the vocal or­ in Schubert's Unfinished Symphony. orchestra music puts the singer in chestra music cited in this article are taken from the manuscript donated to Stanford (Example 10) - touch with history, with the University by Antoinette Colijn Mayer, now Miss Dryburgh and Mrs. remarkable musical skills and kept in Special Collections of the Green Chambers often chose rhythms dif­ energy of two captive women, and Library_ ferent from the original for accom­ with the enriching and transcendent 2 Margaret Dryburgh, "Introduction" taken panying voice parts. In Dvorak's qualities of music. from preface materials to manuscript. 3 Lavinia Warner and John Sandilands, "Largo" the eighth-note pattern ac­ Women Beyond the Wire (London: Michael I companying this melody is omitted. Segments of the "Song of Survival" Joseph Ltd.), p. 139. (Example 11) Due to this choice, which removes an underlying rhythmic vitality, and due to the dif­ Third Annual ... ference in the weight of the sound between an orchestra and a women's chorus, the tempo, otherwise Sununer suitable for an orchestral version, needs to be increased slightly to ac­ commodate the vocal sound and ChQra].> keep the intensity of the passage. The vocal orchestra concerts in the camp continued through 1944 and into 1945 until half of the thirty ·WorkfjljOp singers had died. Margaret A;ugust9~12 Dryburgh, whose musical memory . .." '" '.' and skill had brought such beauty to the camp, died during the last Featuring: . months of captivity and was buried Dale Warland, Conductor in the jungle. Her music had given of the Dale Wa;rland '" her fellow women captives a sense Singers, St.Paul,MN of human dignity that transcended the prison's barbed' wire. Music Qther clinicians includ.e:. .' became a tool of survival by uplift­ Randi Von Ellefson;birector ing the soul and freeing the spirit. . of Choral Activities,' '...... Miss Dryburgh knew the power of Whitworth C()llege and music. In a poem written in the Director of theSpokari~ camp, she says: . Symphony Ch(}rale.· .... As blended voices filled the air Michael Tainte"Horan, '. The soul could soar to worlds Directorofthe Glee Clu1:>s,.. ." more fair, University of N()rth CaroJ.ffia;·· -~-... Escape from prison bonds.3 .. Chapel Hill . ". . Today the preparation of. this February 1987 Page 29 APPENDIX: RISERS THE VOCAL ORCHESTRA REPERTOIRE Largo from New World Symphony...... Antonin Dvorak Waltz No. 15 ...... Johannes Brahms Song Without Words No. 35, "Shepherd's Complaint" ...... Felix Mendelssohn Prelude No. 15, the .. Raindrop ...... Frederic Chopin Pastoral Symphony from Messiah ...... G. F. Handel Reverie ...... ; ...... Claude Debussy To a Wild Rose ...... : ...... Edward MacDowell Minuet in G ...... Ludwig van Beethoven Morning from Peer Gynt Suite ...... Edward Grieg Unfinished Symphony (First Movement} ...... Franz Schubert STANDING CHOIR Londonderry Air ...... Traditional Country Gardens ...... Arr. by Percy Grainger The Captive's Hymn (Sumatra, 1942}...... Margaret Dryburgh Andante Cantabile from String Quartet in D, Op. 11 ...... Peter I. Tchaikovsky Fairy Song from "The Immortal Hour" ...... Boughton Auld Lang Syne ...... Traditional Hu·moresque ...... ;Antonin Dvorak Berceuse ...... Godard Prelude I #20, op. 28 ...... Frederic Chopin Prelude II #6, op. 28 ...... Frederic Chopin SEATED CHORUS Menuet a I'Antique ...... Paderewski Coronach ...... , ...... Edgard Barrett Moonlight Sonata (First Movement}...... Ludwig van Beethoven Sea Song ...... Edward MacDowell Traumeri ...... : ...... Robert Schumann Bolero ...... Maurice Ravel Sonata #1 in C Major...... Wolfgang Amadeus Mozart Audabe ...... Chaminade Box 22434 ~::;::::::=====;? Venetian Boatsong No.3, opus 62, No. 5 ...... Felix Mendelssohn Portland, Oregon 97222 Shepherd's Dance (Henry VlIl Suite} ...... Edward German Jesu, Joy of Man's Desiring ...... J. S. Bach

the Univesity of Kentucky School of Music announces

THE LEWIS AWARD

a four year scholarship totaling $4,000 plus fuJl tuition

for study as a music major Any school or church which purchases a minimum of at the University of Kentucky $300 will automatically receive a "bonus coupon" worth OTHER SCHOLARSHIPS AND GRANTS OF VARYING AMOUNTS 20% additional free music or supplies. UP TO FULL TumON ARE AVAILABLE FOR MUSIC MAJOR OR MINOR VOCAL. KEYBOARD, STRING, WOODWINDS, BRASS AND PERCUSSION STUDENTS The plan is hassle·free because of Pender's computerized String majors are eligible for special awards of full tultlen plus stipend. record keeping. Auditions for scholarships and gra~ts and for School of Music admission will be held on the dates listed below. This school year give Pender's Music Company a Students Interested in audltl~nlng for the Lewis Award must first be nominated by chance to increase your· budget by 20% as well as take a School of Music: Faculty member, or the basis of a regular scholarship audition. advantage of our terrific same day service and huge Audition Dates for Scholarships and Admission inventory of music. Saturday January 24 Saturday February 14 Saturday February 28

Call for catalogs or more information today! Other times may be possible by appointment Audition by finalists for Lewis Award will take place on March 14, 1987. Toll Free WATS: Texas: 1·800·772·5918 For music scholarship application and further information National: 1·8()()'874·6828 regarding audltlons for scholarships and School of Music admission, write: D/FW Metro: 434·1333 or 260·3499 ScholarshIp Committee School of MusIc UniversIty of Kentucky lexington, Kentucky 40506

Page 30 THE CHORAL JOURNAL