August 2014 Volume 55 CONTENTS Number 1 ARRTICLESTICLES
TOWARD A CHORAL PEDAGOGY Writing for the Amateur Chorus: FOR COMPOSERS A Chance and a Challenge DAVID CONTE, ROBERT KYR, AND STEVEN SAMETZ 8 RANDALL THOMPSON 2288
(1935-2013) August 4, 1964 Conrad COMPOSER SusaTEACHER FRIEND 50 Years Later Elizabeth Swanson Compiled by David Conte with Byron Adams, Elinor Armer, 3366 Elizabeth Swanson 5500 Philip Brunelle,Vance George, and Vince Peterson
COOLUMNSLUMNS INNSIDESIDE 2 From the Executive Director 5959 RRepertoireepertoire & StandardsStandards eediteddited byby AmyAmy BlosserBlosser 4 From the President DDevelopingeveloping IImprovisationmprovisation SSkillkill aandnd tthehe CConfidenceonfidence ttoo TTeacheach IItt 6 From the Editor bbyy PatricePatrice MaduraMadura Ward-SteinmanWard-Steinman 7 Letters to the Editor 49 In Memoriam UUpdatespdates fromfrom StudentStudent CChaptershapters 56 2015 Research Poster Session Call for Papers 63 Brock Student Composition Contest Information 74 2015 National Conference Master class Application 6565 NNewew VoicesVoices iinn RResearchesearch edited by Magen Solomon 75 2015 National Conference Information William Levi Dawson's Life in Speeches, Letters, and Writings 77 2015 National Honor Choir Information 82 2016 AGO Convention Call for Proposals by Vernon Huff 86 ChorTeach Preview 88 Advertisers’ Index 7733 HHallelujah!allelujah! eediteddited byby RichardRichard StanislawStanislaw TThehe SoundSound ooff ((Congregational)Congregational) SSilenceilence The Choral Journal is the official publication of The American Choral Directors Association (ACDA). bbyy BobBob BurroughsBurroughs ACDA is a nonprofit professional organization of choral directors from schools, colleges, and universities; community, church, and professional choral ensembles; and industry and institutional organizations. Choral Journal circulation: 19,000. Annual dues (includes subscription to the Choral Journal): Active $95, Industry $135, Institutional 8811 BBookook ReviewsReviews eediteddited byby Sttephenephen TTownown $110, Retired $45, and Student $35. One-year membership begins on date of dues acceptance. Li- brary annual subscription rates: U.S. $45; Canada $50; Foreign $85. Single Copy $3; Back Issues $4. 8855 CChoralhoral ReviewsReviews eediteddited byby Stteveneven GGrivesrives Permission is granted to all ACDA members to reproduce articles from the Choral Journal for non- commercial, educational purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. 545 Couch Drive, Oklahoma City, Oklahoma 73102. Telephone: 405/232-8161. All rights reserved. Cover art by Efrain Guerrero, graphic artist, Austin, Texas The Choral Journal (US ISSN 0009-5028) is issued monthly except for July by the American Choral Interior art by Tammy Brummell Directors Assoication, 545 Couch Drive, Oklahoma City, Oklahoma 73102. Periodicals postage paid Musical examples by Tunesmith Music
National Past Presidents † Archie Jones † Hugh Sanders In early June, 150 individuals holding leadership roles in ACDA met in Salt Lake City, Utah, † Elwood Keister David O. Thorsen † Warner Imig Diana J. Leland for several days of training, informative sessions, committee meetings, and a preview of the † J. Clark Rhodes William B. Hatcher † Harold A. Decker John B. Haberlen venues planned for the 2015 ACDA National Conference. Attendees included state and † Theron Kirk † Lynn Whitten divisional presidents and presidents-elect, the Choral Journal editorial board, the Research † Charles C. Hirt James A. Moore † Morris D. Hayes Milburn Price & Publications Committee, the Education Technology Committee, the National Board of Russell Mathis David Stutzenberger † Walter S. Collins Mitzi Groom Directors, and the Executive Committee. The members shown in this photo are those who H. Royce Saltzman Michele Holt participated in a group outing to Park City, Utah, on Friday night, June 6. † Colleen Kirk Hilary Apfelstadt Maurice T. Casey Executive Director's new works by member composers. The mission of the Log This growing community has taken American Choral Directors Association place thanks to the good work of is to inspire excellence in choral music What's on Jack Senzig and other composers and through education, performance, Tim's daytimer? online facilitators. composition, and advocacy. At our biennial national conference AAugustugust 1 - 6 China International Choral Festival in Salt Lake City, Utah, February 25-28, Beijing, China 2015, ACDA will celebrate and live AAugustugust 7 - 1313 World Choral Symposium out our mission in the area of choral Seoul, South Korea composition by offering a dedicated “choral composition track,” the fi rst The 12 Purposes AAugug 3030 - SeptSept 6 Haydn Festival Esterhazy, Austria of its kind in this area, that will run of ACDA throughout the conference. This track SSeptembereptember 1212 Star-Spangled Music Day will feature interest sessions designed • ToTo fosterfoster aandnd ppromoteromote cchoralhoral ssinging,inging, SSeptembereptember 1616 Travel Industry/ and administered by composers. It has wwhichhich wwillill pproviderovide aartistic,rtistic, ccultural,ultural, andand ACDA Summit Meeting been my pleasure to work with com- sspiritualpiritual experiencesexperiences forfor tthehe pparticipants.articipants. Chicago, IL poser Steven Sametz (ACDA’s 2011 Brock Composer) as he has worked in • ToTo fosterfoster aandnd ppromoteromote tthehe ffinestinest ttypesypes ooff September 30 Tulsa High School Choral Festival Tulsa, OK an advisory capacity to help design this cchoralhoral musicmusic toto makemake thesethese experiencesexperiences ppossible.ossible. new addition to our national confer- What's on ence. Further, we celebrate new com- • ToTo fosterfoster aandnd eencouragencourage rrehearsalehearsal pproce-roce- Tim's Ipad? position in choral performance in Salt dduresures conduciveconducive toto attainingattaining thethe highesthighest ppossibleossible levellevel ofof musicianshipmusicianship andand artisticartistic Lake City through the performance pperformance.erformance. Source Readings in American Choral Music by The King’s Singers of this year’s David P. DeVenney Brock Composition by Jake Heggie. • ToTo fosterfoster aandnd ppromoteromote tthehe oorganizationrganization aandnd Choral Masterpieces: Major and Minor The Utah Symphony and Chorus will ddevelopmentevelopment ofof choralchoral groupsgroups ofof allall typestypes inin Nicholas Tarling feature a new choral/orchestral work sschoolschools andand colleges.colleges. commissioned for this occasion by • ToTo fosterfoster aandnd ppromoteromote tthehe ddevelopmentevelopment ooff What's byTim's Mark Labberton Ēriks Ešenvalds. cchoralhoral musicmusic inin thethe churchchurch andand synagogue.synagogue. Latest App? Beyond our 2015 National Con- ference, ACDA continues its focus • ToTo fosterfoster aandnd ppromoteromote tthehe oorganizationrganization aandnd Life Balance by Llamagraphics on choral composition through two ddevelopmentevelopment ofof choralchoral societiessocieties inin citiescities andand ccommunities.ommunities. targeted symposia. The fi rst, Searching What's Tim for a Latin American Style, will take place • ToTo fosterfoster aandnd ppromoteromote tthehe uunderstandingnderstanding Listening to? June 22–23 on the campus of the ooff choralchoral musicmusic asas anan importantimportant mediummedium ofof University of Texas at Austin in Austin, ccontemporaryontemporary artisticartistic expression.expression. BYU Vocal Point: Spectrum TX. The second is American Choral • ToTo fosterfoster aandnd ppromoteromote ssignificantignificant Sirene: The Esoterics Composition in the Modern Era and will rresearchesearch inin thethe fieldfield ofof choralchoral music.music. Hear more at
National Chair Amy Johnston Blosser “Don’t be afraid of new ideas. Be Bexley High School FROM THE 614-579-9346 afraid of old ideas. They keep you [email protected] where you are and stop you from Boychoirs PRESIDENT Julian Ackerley growing and moving forward. Tucson Arizona Boys Chorus 520-296-6277 [email protected] Concentrate on where you want
Children's and Community Youth Choir to go, not on what you fear.” Cheryl Dupont New Orleans Children’s Chorus 504-833-0575 [email protected] — Anthony Robbins
College and University Choirs Joey Martin Texas State University—San Marcos Karen Fulmer WANTED: Innovative ideas that empower more [email protected] children and youth to sing, and emerging directors to
Community Choirs broaden and deepen involvement with ACDA. What new project or pro- Ron Sayer Marshall Community Chorus gram addressing this goal could you develop with $100, $500, or $1,000 660-831-5197 [email protected] as seed money or a grant?
Ethnic and Multicultural Perspectives At the ACDA National Leadership Conference held at the beginning of JosÉ Rivera June in Salt Lake City, Utah, attendees were challenged to brainstorm ideas University of North Carolina 910-521-6290 for local projects and programs that would address the goal of the new [email protected] fundraising campaign: Fund for Tomorrow. As described in previous columns Junior High/Middle School Gretchen Harrison by Executive Director Tim Sharp, these funds are specifi cally targeted to Frontier Trail Junior High 913-780-7210 reach children and youth who might not have access to choir programs [email protected] in their schools or who might need scholarship assistance to participate Male Choirs Christopher Kiver in an ACDA honor choir. These funds will also be used to reduce fees for Penn State University college ACDA members to attend division and national conferences, and 814-863-4400 [email protected] to establish and facilitate mentorship groups across the country, building Music in Worship relationships between new conductors and experienced mentors. Walt Terre Johnson Vestavia Hills Baptist Church Disney once said, “Get a good idea and stay with it. Do it and work at it [email protected] until it’s done right.” Our leadership knows that the Fund for Tomorrow Senior High Choirs idea is a good idea and a solid investment in ACDA’s future. We encourage Daniel Bishop Clovis East High School membership to join together in building this fund so it can truly become 559-478-1785 [email protected] something larger than any individual.
Show Choirs The great author John Steinbeck once said, “Ideas are like rabbits. You Randi Carp Phoenixville Area High School get a couple, learn how to handle them, and pretty soon you have a dozen.” 484-927-5145 [email protected] ACDA leadership expects many ideas for the use of these funds to spring up across the nation. If you have an idea to share, please communicate it Two-Year Colleges Dianna Campbell to your state, division, or national leadership. Guidelines and application Seminole State College of Florida 407-708-2644 procedures are currently in development, with an offi cial rollout of the [email protected] initial process targeted for the 2015 National Conference next February Vocal Jazz Patrice Madura Ward-Steinman in Salt Lake City. Indiana University 812-855-7738 Don’t be afraid of new ideas, and let’s keep moving forward! [email protected]
Women’s Choirs Iris Levine Vox Femina Los Angeles [email protected]
Youth and Student Activities Amanda Quist Westminster Choir College, Rider Univ. 616-901-3846 [email protected] Help grow new choral singers and develop new choral conductors with a gift to the American Choral Directors Association’s Fund for Tomorrow Your donation to this new fund will help to encourage new children’s choirs, support ACDA student members and chapters, provide national conference scholarships to Honor Choir students, and mentor talented youth into new choral conductors and teachers.
With a gift of $1,000 or more, you become a member of the Podium Society, a very special group of people who invest significantly in our programing for children and youth.
More information at: www.acda.org/fund4tomorrow
Give online or mail your contribution to ACDA, 545 Couch Dr., Oklahoma City, OK 73102-2207. The American Choral Directors Association is a 501(c)3 tax-exempt organization. Your gift to this fund is tax deductible to the extent allowed by law. Editorial Board I am excited to present this month’s focus issue on the topic of choral composition. As I began com- FROM THE Editor municating with David Conte about the articles in Amanda Bumgarner ACDA National Office this August edition, I was immediately struck by his EDITOR 405-232-8161 (ex. 205) [email protected] passion for choral music and desire to share that pas- sion with the larger membership of ACDA. I want to Managing Editor Ron Granger publicly thank him for his dedicated work on this, a ACDA National Office 405-232-8161 signifi cant topic worthy of a feature. For surely with- [email protected] out fi rst the composition of choral music, directors Board Members would have nothing to direct, musicians would have Hilary Apfelstadt nothing to play, and singers would have nothing to University of Toronto 416-978-0827 sing. I think we can all acknowledge how indispensable [email protected] Amanda Bumgarner composers are to our art, and I hope you are inspired Terry Barham University of Missouri - Kansas City and encouraged by this focus issue. [email protected]
Kristina Boerger DePauw University [email protected] From the Guest Editor
Philip Copeland Samford University The impetus for this month’s Choral Journal issue 205-335-5353 [email protected] began several years ago. As an active choral composer, choral conductor, and theory teacher for over three de- James Daughtery University of Kansas cades, I had long desired to organize my own knowledge [email protected] about this subject into a form that could be shared with J. Michele Edwards 651-699-1077 the membership of ACDA. Two particular occurrences [email protected] inspired me to action. In April of 2012, the composer Lynne Gackle John Adams led a master class in composition at the Baylor University David Conte 254-710-3654 San Francisco Conservatory of Music. Adams shared [email protected] that when he received the commission from the San Francisco Symphony Steven Grives 605-695-9812 to compose his choral/orchestral work Harmonium, he realized that during [email protected] his six years of formal composition studies in American universities, not once Sharon A. Hansen did any teacher suggest that he either analyze or compose any choral music. Emerita, Univ. of Wisconsin-Milwaukee 414-651-4009 I was not surprised by this remark, but I thought it both generous and honest [email protected] of a composer of Adams’s stature to share it. Edward Lundergan SUNY-New Paltz Just a few months later, I participated as a panelist in the National Sym- 845-257-2715 posium on American Choral Music in Washington DC. The initiative was [email protected] centered partly around the question: “Is there an American school of choral David Puderbaugh University of Iowa composition?” This led to more soul searching on my part and to my idea to 319-335-1627 [email protected] gather the thoughts of two esteemed colleagues—Robert Kyr, Professor of
Jason Paulk Music at the University of Oregon, and Steven Sametz, Professor of Music at Eastern New Mexico University Lehigh University—to join with me to write an article on choral composition 575-562-2798 [email protected] pedagogy. Ann R. Small In additional to this centerpiece article, I have included a reprinting of Stetson University 386-822-8976 Randall Thompson’s 1959 article, “Writing for the Amateur Chorus: A Chance [email protected] and a Challenge.” Why Thompson and why now? When I fi rst encountered Magen Solomon this article, I was struck by its wisdom and clarity and how many of his ob- San Francisco Choral Artists 415-494-8149 servations still hold true today. It seemed to me a compelling measuring [email protected] stick against which to confi rm what values are unchanging and what is truly Richard Stanislaw [email protected] new. I also admired what I would call its enlightened conservatism. Another
Stephen Town indispensable resource is Archibald Davison’s book The Technique of Choral Northwest Missouri State University 660-562-1795 [email protected] 6 CHORAL JOURNAL Volume 55 Number 1 Composition (1945). Though there have been other books those lucky to have known Conrad and will give an intimate on this subject written since, I wanted to shed light on what look into his character for those who did not know him perhaps has been forgotten in our current, very crowded, personally. marketplace of ideas. It is my fervent hope that these articles will serve all Finally, I have gathered six eulogies written for a me- choral conductors and educators who come in contact morial concert for Conrad Susa, which was held on April with aspiring choral composers in their schools, churches, 5, 2014, in San Francisco. Conrad served as the keynote and communities, and that the thoughts explored here will speaker at the National Symposium in 2012, is one of our provide inspiration for further conversations in our profes- country’s most important choral composers, and would sion on this important subject. have contributed richly to our pedagogy article. I am con- fi dent that these eulogies will confi rm the experiences of David Conte
LETTERS TO THE Editor, and Vaughan Williams’s Dona Nobis Pacem, both of which I have performed as chorister and conducted with my own EDITOR I read with great groups. I pulled out my scores and recordings and listened interest, and substan- again to these great works. I also was inspired by the March tial pleasure, the con- issue’s article by José Rivera on Cuban music. Since our new versation you published president at Fort Hays State University is a native Cuban, between Jerry Blackstone, I hope to use some of Rivera’s suggested titles at my fall Mark Clague, and Andrew Kuster in the April 2014 issue concert to welcome her to our school. about our national anthem. The one thing missing, I think, I think this is the function and goal of putting articles like was an adequate appreciation of just how excellent the this in our Choral Journal…to inspire other choral directors lyrics are. The classic essay on the subject is by the re- to consider these works! Also, I presume, to encourage nowned poet Eli Siegel—who himself grew up in Baltimore other research and submission of articles for the same. and lived there at the time he fi rst came to fame when he won the 1925 poetry prize from The Nation magazine for Thank you, his masterpiece, “Hot Afternoons Have Been in Montana.” Incidentally, back in the June 2006 issue, which focused Terry Crull on Mozart’s 250th anniversary, Choral Journal published my Associate Professor of Music essay and did a superb job in the layout and in the musical Director of Choral Activities transcriptions. I remain very impressed and grateful. Thank Ft. Hays State University, Hays, KS you for maintaining—even augmenting—the quality of the [email protected] journal in recent years.
All the best, From the Editor
Edward Green, PhD Correspondence through this offi ce is not taken lightly. Dept. of Music History I highly respect the months and years of scholarly research Manhattan School of Music it takes to compose a Choral Journal feature article, and as editor I am grateful too for those who take the time to read and write in with comments. It is never the intent of Editor, the Journal or its editors to undermine the quality or profes- sionalism of this publication. I regret if the critique printed Doing my just-after-the-year catching up on past Choral in the June/July issue of William Skoog’s article “Musical Journal articles, I read with great interest the articles by Wil- Settings of War Texts” caused the author or Journal read- liam Skoog in February and April on Britten’s War Requiem ers any offense.
CHORAL JOURNAL Volume 55 Number 1 7 TOWARD A CHORAL PEDAGOGY FOR COMPOSERS DAVID CONTE, ROBERT KYR, AND STEVEN SAMETZ
The impulse for this article grew organically out of the “Symposium for American Choral Music” held in Washington DC in June 2012 and sponsored by ACDA and the Library of Congress. Three composer/teachers who direct sustained programs connected to conservatories or universities where young composers have the opportunity to compose choral pieces were asked to share their experiences and points of view about the issues contained within the following sixteen questions. Several of the more general questions about “American Music” represent a continuation of issues explored at the Symposium. You will fi nd here many practical suggestions and more philosophical and aesthetic musings on these important topics.
David Conte Robert Kyr Steven Sametz Professor of Composition Philip H. Knight Professor of Music Ronald J. Ulrich Professor of Music at Lehigh University Chair, Composition Department Chair, Composition Department Artistic Director, The Princeton Singers Conductor, Conservatory Chorus Director, Oregon Bach Festival Composers Symposium Chair, ACDA Composition Advisory Committee San Francisco Conservatory of Music University of Oregon School of Music and Dance [email protected] Composition Faculty, [email protected] European American Musical Alliance (Paris) [email protected]
8 CHORAL JOURNAL Volume 55 Number 1
TOWARD A CHORAL PEDAGOGY
1) What are you currently doing to A half-dozen compositions have been tition under the supervision of Dr. Wal- educate young composers in the art published by major companies, thus lace DePue featured choral pieces by of choral composition? providing an entry for young composers twenty undergraduate theory students, into the world of publishing. In addition, which were performed by the Univer- DAVID CONTE: The San Francisco every summer I mentor the compos- sity ensembles and awarded prizes by Conservatory Composition Depart- ing of choral pieces at the European a panel of judges. My fi rst published ment offers highly structured oppor- American Musical Alliance held at the composition, “Cantate Domino,” was tunities for our student composers to Schola Cantorum in Paris. This program, written for this project. write vocal music. My own pedagogi- directed by Dr. Philip Lasser of the cal approach is to emphasize that the Juilliard School, offers instruction for STEVEN SAMETZ: My own path to most durable rhetorical conventions of composers, conductors, and chamber teaching composition has been indirect. instrumental composition derive from musicians in the teaching methods of While I began composing at an early age, vocal music, meaning that a mastery of Nadia Boulanger, my own teacher from my advanced degrees are in conducting. writing for the voice is what sustains 1975 to ‘78. All sixty-fi ve students sing At the end of my DMA exams, I asked and nurtures compositional activity for in the Chorale, led by Dr. Mark Shapiro, the head of the theory department all other mediums (chamber music, or- Music Director of Cantori New York what he thought about my somewhat chestral music, etc). An examination of and the Cecilia Chorus of New York. irregular training as a composer. His the catalogues of the great composers All composers have the opportunity response was that as a conductor, I throughout history reveals how many of to compose choral pieces within the was trained in score analysis, orchestra- them composed a large amount of vocal fi rst ten days of the program and to tion and instrumental techniques, and music, especially choral music. For ex- have them read and performed by the how to shape musical architecture in ample, people are sometimes surprised EAMA Chorale under the direction of performance. This conductor training, to learn that over half of Stravinsky’s 128 Dr. Shapiro or student conductors un- combined with an impulse to write, works are vocal. der his supervision. Student composers was, in his view, an ideal practicum for Since 2000, I have supervised the typically derive substantial benefi t from composition. San Francisco Conservatory Choral their interaction with student conduc- When advising young composers, I Composition Competition, a biennial tors and vice versa. pass along this received wisdom that competition that alternates art song The inspiration for this project came practical involvement in performance is and unaccompanied choral pieces. Our from my undergraduate experience at essential. It is so important to be in the students have composed over one Bowling Green State University in the experience: hearing crossing lines, getting hundred choral pieces for this project. early 1970s. The Religious Arts Compe- the “feel” of a singing line in your body, understanding the internal resonance of a choir. It is very likely why so few academic teachers encourage choral writing: they are not singers, and they don’t understand what it is to sing in a choir—they haven’t experienced that triple-punch of harmony, great text, and communal emotion that is delivered in singing. And if you’re at all inclined to- ward composition, you fi nd the experi- ence of singing in a choir inspires you to write for choir. I have taught composers at Lehigh University for over thirty-fi ve years as part of our bachelor’s in music program and our specifi c bachelor’s in composi- tion program. No student composer has ever written a piece that has not been
10 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS
performed, and often they conduct their instrumental music in equal measure. At Vanguard Concert and Workshop Se- own pieces. all degree levels, our composers create ries, which gives students an opportunity In 2000, I founded of the Lehigh Uni- music in a wide range of vocal genres, to compose for eminent guest artists, versity Summer Choral Composers Fo- including both unaccompanied and ac- who read their music in seminar sessions rum. Now co-sponsored by ACDA, the companied choral music. In regard to or present it in public concerts. Our biennial Choral Composers Forum is an choral pedagogy, our program combines students also participate in the Oregon intensive, weeklong workshop dedicated a rigorous approach to technical training Bach Festival Composers Symposium, to the exploration of the compositional with a wide array of performance op- which I founded in 1994. Currently the process and the mentoring of aspiring portunities. Our philosophy is that all of symposium has a strong choral com- composers to fi nd their own voices. our composers should sing and conduct ponent that enables each composer There are several unique features in the their choral music during the course to have an extensive and complete design of the Forum. Participating com- posers are instructed to not bring any sketches made beforehand. The week is dedicated to creating a new piece. In the IF YOU’RE AT ALL INCLINED TOWARD process, participants develop a greater COMPOSITION, YOU FIND THE EXPERIENCE OF awareness of their individual starting points, where they might get stuck, and SINGING IN A CHOIR INSPIRES YOU TO WRITE consider new ways of prolonging musi- FOR CHOIR. cal ideas. In private lessons and group seminars, the composers explore text setting, voicing, and structure with men- tor teachers and myself. of their studies, while completing an experience of his or her own music—as Most importantly, through daily re- intensive academic curriculum that of- both creator and interpreter—which is hearsals with our professional lab choir fers studies in counterpoint (preferably essential for the creation of inspired and in residence, The Princeton Singers, a yearlong sequence), harmony, theory, well-composed choral works. participants hear what they’ve written and music history (including ethnomusi- each day and have a chance to develop cology). Furthermore, all of our degree the work further for the next day’s recitals, theses, and dissertations in the 2) What are the most essential reading. By writing each night, discuss- vocal genre are publicly presented in pedagogical elements of a choral ing the work in morning seminars, and professionally recorded concerts. Stu- composition program? developing the work in daily lessons dents are responsible for organizing and rehearsals, composers get feedback and coordinating these presentations, CONTE: In our project, the student and shape their pieces over the course which provide a set of opportunities for composers are led through a series of a week’s study. Experimentation signifi cantly furthering their artistic and of steps to prepare for composing a and risk-taking are encouraged, as is professional development. choral piece. This takes place within “borrowing” from other participating In our program, there is a perfor- the context of a weekly two-hour class composers’ compositional procedures. mance requirement and most of the over a period of about seven weeks. It is By week’s end, all participants have their composers sing in our university cho- proposed that the task of composing for pieces recorded in a concert by The ruses, as well as perform in instrumental unaccompanied chorus can reveal more Princeton Singers. The result is what ensembles. There are numerous oppor- immediately than any other medium the one participant called “fantasy camp for tunities for students to perform in their composer’s strengths and areas to be composers.” own vocal compositions and to hear strengthened. We analyze unaccompa- them performed: through the Oregon nied choral pieces from all style periods, ROBERT KYR: The composition pro- Composers Forum Concert Series; beginning with the Renaissance, and with gram at the University of Oregon through two of our six student-run special emphasis on twentieth-century School of Music and Dance is com- contemporary music groups, which are repertory, including pieces by our faculty mitted to a pedagogical approach that vocal ensembles (Sospiro and Ambrosia, and by past student winners. encourages the composing of vocal and two chamber choirs); and through the I compile about thirty texts, both
CHORAL JOURNAL Volume 55 Number 1 11 TOWARD A CHORAL PEDAGOGY
sacred and secular. We analyze these The ability to handle the sonority and • Learning to analyze found texts (often texts together, marking all stressed syl- color of a choir—and by that I mean by poets who are not necessarily lables, underlining all verbs (which can the infi nite palette we have from low- musicians) as “text for music” in give a clue to tempo), and observing voiced pianissimo chords to world music order to determine possibilities the punctuation in order to connect it shouts to a minimalist’s pulsed repeated for musical setting. to musical cadences. Special attention syllables—taps the potential of the most is paid to conjunctions, as they often versatile instrument on the planet: the • For those who have the basic inclina- indicate dramatic reversals or changes in human voice. Our responsibility is to tion and ability, learning to write tone that provide musical opportunities. understand how the voice has been “text for music” through a peda- The students are then ready to memo- effectively used by past masters even as gogical process that is guided by rize their chosen text and to recite it we give voice to newer types of vocal- a mentor, preferably a composer from memory to the rest of the class. ism in our latest works. who is also a skilled creative writer. In this way, the students absorb what I would call the “energy curve” of the KYR: I believe the most essential • Singing in a chorus that programs a text. I encourage them to ask: Who is pedagogical elements of a composition wide range of signifi cant choral speaking, and to whom? Is there a clear program are: works from the repertoire and climax? Does the speaker go through contemporary music, especially any signifi cant change in the course of • Studying the art of choral composition premieres or commissions with the text? with a composer who has sub- coaching from the composer. Another useful exercise is for the stantial experience in composing Also for those who are interested, student to compile a list of adjectives for the medium and an abiding learning to conduct a choral en- that describe with as much refi nement commitment to the choral art. semble. as possible the character of the text. For example, if it is sad, is it resignedly sad or • Engaging in an ongoing process of • In-depth study of counterpoint with nostalgic? Consciousness of these things composing for chorus, hearing an emphasis on model writing can guide students in their choices of one’s music performed on a (e.g., canons, fugues) and singing every aspect of the piece. I fi nd that regular basis, performing in one’s numerous historical examples. students enjoy delving into their experi- own music (as singer and/or con- ence of the poem in this way. Students ductor), and learning to receive • Developing piano profi ciency to the these days are rarely asked to memorize meaningful input from singers and level of performing contrapuntal poetry and recite it aloud with the inten- choral directors in order to make music, such as Bach’s Inventions tion to convey it as an actor would. This judicious revisions as necessary. and selected preludes and fugues experience leaves the words “hanging from the Well-Tempered Clavier, as in the air” in such a way as to draw out • Listening deeply to the greatest works well as perfecting score-reading music naturally. of the choral literature from the skills and playing piano-vocal re- Medieval period to the present ductions. SAMETZ: The essential compositional day, which may serve as models elements—concerns of architecture, of ideal choral writing for the In purely practical terms, this compre- harmony, rhythm—are no different than student, and analyzing the music hensive curriculum might be organized instrumental writing. When we turn to from both textual and musical as follows: 1) two-year sequence of specifi cs of choral composition, we need perspectives. undergraduate harmony, aural skills, and to add considerations of effective text keyboard skills; 2) yearlong course in setting, balancing voices through tessi- • Studying poetry and other forms of counterpoint that spans the history of tura and vowel color and how we treat literature in ways that help the stu- Western music from the Medieval pe- dissonances effectively for the voice. dent to better understand musical riod to the present day; 3) a minimum of We must understand the strengths and texts (which might be a course, the following: one year of undergraduate weaknesses of the voice and the com- seminar, or part of a guided study piano study, including the performance plex variety of choral sonorities avail- in private composition lessons). of music by contrapuntal composers, able in mixed, men’s, and treble choirs. such as J. S. Bach; one year singing in a
12 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS
university or community chorus; one of each and every singer. Experiencing Palestrina, Monteverdi, Schütz, and Bach survey course that covers part or all of choral music in every role, including as to appreciate composers who were the Medieval, Renaissance, and Baroque singer, conductor, and even accompanist, fully active in vocal performance. For periods; one course in literature that creates good choral composers. the twenty-fi rst-century choral com- focuses on the analysis and reading of poser, there is no substitute for singing poetry taught through the English de- SAMETZ: There are many fi ne com- a broad range of choral works—the partment; 4) fi nally, if available, the stu- posers of instrumental music who do fi nest repertoire of the past as well dent should also take at least one course not necessarily write well for the voice. as new music—in an outstanding col- in choral literature taught through the Bach was one, and there have been legiate, community, semi-professional, choral studies department, and one or others. Beethoven comes to mind. But and/or professional chorus. more courses in choral conducting. those who come from the choir, as it During his or her student years, were, and understand what it is to cre- every serious composer of choral ate a satisfying vocal line, or who know music should strive to become more 3) What is the relationship of choral from inside out how to voice a chord than profi cient in aural skills (as taught musicianship to choral composi- on vowels to get the greatest acousti- in theory class, including sight-singing) tion? cal sonority, have a defi nite advantage. and perform in a chorus for at least
CONTE: All composers benefi t from learning to sing as well as possible and from singing in ensembles. Histori- FOR THE TWENTY-FIRST-CENTURY CHORAL cally, we know that many of the greatest composers had experience from a very COMPOSER, THERE IS NO SUBSTITUTE FOR young age as choral singers, and there SINGING A BROAD RANGE OF CHORAL are many anecdotes about compos- ers singing their own work for others. WORKS—THE FINEST REPERTOIRE OF THE PAST Mahler played on the piano and sang AS WELL AS NEW MUSIC—IN AN OUTSTANDING his symphonies for his wife, Alma, once he had completed them. Beethoven COLLEGIATE, COMMUNITY, SEMI-PROFESSIONAL, could be heard through the door as OR PROFESSIONAL CHORUS. he worked and sang his ideas out loud. Britten, Walton, and Vaughan Williams all were boy choristers in the great English tradition; and Brahms, Vaughan Wil- Knowing the rhythm of a cut-off on a one year, which can be augmented by liams, and Webern were active choral fi nal consonant, being aware of what taking voice lessons if the student so conductors. part of a diphthong a choir will sing on, chooses. If possible, the student should In our project, composers are advised recognizing the joy a bass section has in also take a choral conducting course to not write anything they can’t sing a fi nal low E—these are all part of our at the university level in order to learn themselves. In addition to singing each toolboxes and our craft. There is no how to study and rehearse a choral line alone, they are asked to sing it while substitute for singing in a choir as training work from the director’s perspective. playing the other parts, and in tempo, for writing for choirs. This experience will enhance the com- from beginning to end. Composers who poser’s understanding of the choral have not yet acquired suffi cient piano KYR: Choral musicianship is intimately art from a variety of perspectives: as a technique to do this can make use of related to choral composition. Through- “theorist” (aural skills); as a vocalist in a MIDI, muting the part they are singing out history, one fi nds that the greatest chorus (possibly supplemented by vocal and singing along with the playback. composers of choral music had con- lessons); and as a director, all of which While this is not ideal, it can also imme- siderable experience singing in vocal will greatly further his or her artistic diately show a composer what it’s like ensembles. And often, they also led development as a composer. to participate as part of a musical whole choral ensembles as directors. We only In addition, it is crucial that a choral and to put him or herself in the position need to consider Dufay, Josquin, Lassus, composer studies counterpoint in a
CHORAL JOURNAL Volume 55 Number 1 13 TOWARD A CHORAL PEDAGOGY
course that covers music from the Medi- amateurs, it is low on the prestige scale fi rst choral piece. eval period to the present day. Moreover, of musical mediums. Thompson points the student should attain a level of piano out that many of the greatest works of SAMETZ: There is a lingering sense in profi ciency that enables him or her to our most revered composers can be the echelons of academia that writing play a variety of contrapuntal pieces with sung by amateurs. Writing choral music for chorus is less rigorous than writ- some facility. Finally, for a composer, cho- keeps a composer honest; one has to ing for instruments. This is probably ral “musicianship” must also include the hear where the next note is coming perpetuated by composers who don’t ability to understand text from both the literary and performative perspectives. Choral composers should learn how ALL GREAT COMPOSERS OF THE PAST LEARNED BY to physically embody literary text—to read it aloud in a compelling manner—in IMITATING THE MASTERS. YOUNG COMPOSERS order to make it one’s own so that the writing of choral music becomes an act BENEFIT IMMENSELY FROM COMPOSING PIECES of creating the text and music as one BASED ON HISTORICAL MODELS. organic, unifi ed expression.
4) Why is there a lack of choral from. For this reason, a chorus is far regularly write for choir and encourage pedagogy for composers in Ameri- more vulnerable to being sabotaged by their students to apply themselves to the can universities? faulty technique. Even a few miscalcula- complexities of writing for orchestras. tions of voice-leading and awkward There is also the sense that the text CONTE: John Adams, a former faculty preparation of dissonance can sink the will propel the development of the member at the San Francisco Conserva- success of an unaccompanied choral work rather than some more abstract, tory and now a frequent guest teacher, piece in performance. This is often seen less programmatic, cell or motive. That told our student composers that when as the fault of the singers. And while it’s Webern, Schoenberg, Berio, Lutosławski, he received the commission to com- true that the teaching of ear training Penderecki, Stravinsky, and Ives all wrote pose Harmonium, he realized that in his and sight-singing may not often be as for choir doesn’t seem to be enough six years of formal composition stud- effective as one might hope, many dif- of an imprimatur to bring choral music ies in American universities, not once fi culties in choral pieces are the result to the mainstream of academic study. did any teacher suggest that he either of faulty technique on the part of the Despite the fact that Webern’s Workers analyze or compose any choral music. composer. This is true in instrumental Chorus sang his twelve-tone cantatas, Additionally, Randall Thompson sites music too but not nearly as obvious or there is the sense that singers will have the “tyranny of absolute music” in his detrimental to the successful realization a harder time in non-tonal music. As 1959 article “Writing for the Amateur of new pieces. composers and teachers, we should be Chorus” (reprinted in this issue). In the Kodály said that the health of a mu- able to guide students in effective ways academy, forms such as symphony and sical culture is built upon the training of writing non-tonally for choirs if that is string quartet are held up as high mod- of the musical young through singing part of their compositional voice. els, which indeed they are; but today, the folk music of that culture. Perhaps This issue may also be related to the many forget how much choral music partly because of the decline in public programming of choral repertoire at was written by the great composers of school music programs, choral music is schools. Offering time for student and the past who excelled in instrumental simply not a part of the background of faculty pieces to be performed in con- music. I often tell my students that choral many young composers. In thirty years cert is a great incentive for our compos- pieces and songs are the “compost” out of reviewing composition applications ers—aspiring and established—to write of which grow symphonies and other for admission to the SF Conservatory, more for choirs. Choral directors have a instrumental forms. less than a fourth of the applicants have great deal of power both as advocates Writing for amateurs is often dis- choral pieces in their portfolio. More and performers of new music. If you couraged in university settings. Because than two thirds of the student compos- believe in a new composer, program choral music is often the province of ers in our project are composing their his or her music! This could change the
14 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS
approach of compositional faculties in rable and wise advocacy of American revealed only through the deep knowl- no time. choral directors, who have begun to edge of the personalities of others.” read and publicly perform more pieces KYR: Sadly, there is a deep and persis- by student composers, and a more SAMETZ: The art of setting voice tent prejudice in academia that compos- diverse range of music by established against voice—counterpoint—is con- ing instrumental music is a higher (and composers who are truly dedicated tinually developing. Bach’s counter- more prestigious) art than composing to the choral art. In the United States, point is distinct from, though related vocal music, especially choral music. the combination of an ever higher level to, Palestrina’s. Brahms’s and Poulenc’s From whence this bias originates is of vocal performance with the strong counterpoint and harmony expand the anybody’s guess, since the Western creative leadership of choral directors vocabulary but still arise as an organic tradition of notated music began with has brought about an American Choral development of historical voice leading. vocal composition and was dominated Renaissance, thus inspiring composers It is certainly possible to write outside by it for at least fi ve hundred years. to strive toward creating a signifi cant of the historical models (Glass’s Einstein Probably, it was the advent of non-modal national repertoire. These conditions on the Beach and Adams’s Klinghoffer and non-tonal music that fi nally shifted have produced an ideal climate in which choruses are good examples of won- the balance from vocal to instrumental student composers can compose choral derful choral sonorities largely free of genres, because choral programming in music as a required part of their studies. traditional counterpoint), but it’s use- America tended to favor tonal, homo- ful to encounter the traditions before phonic music, while instrumental music countering them. was exploring a wider range of more 5) What is the relevance of the study experimental harmonic textures and of traditional harmony and coun- KYR: The greatest glory of choral music practices. terpoint to the creation of choral is in its independence of parts; that is, Throughout the twentieth century, music today? in polyphony rather than homophony, academic “new music” in the choral and which often relegates the inner voices instrumental realms differed greatly. For CONTE: W. H. Auden wrote, “Every of the chorus to singing “fi ller.” The a relatively long time, university cham- technique is a convention, and there- polyphonic music of composers such ber ensembles and orchestras played fore dangerous, but techniques must be as J. S. Bach and Brahms requires every music that related to developments learned and then unlearned. We may chorister to sing primary material, i.e., championed by the modernists and get stuck halfway, but there is no other the motivic subjects of various forms of post-modernists, while university cho- route to greatness.” The principles of imitative writing. Thus, in the truest po- ruses often programmed sets of short traditional harmony and counterpoint lyphony, the musical challenges in a piece pieces (2-4 minutes each) that were represent principles that are beyond are shared by all sections of the chorus largely tonal and usually homophonic style and taste. (For example, repeating a and do not fall disproportionately on with fi ller in the inner voices. During bass note over the bar line—which Bach any one of them. this period, composition professors avoids in his hundreds of chorales— Over the past several decades, strongly favored the harmonic direction tends to obscure the meter. This obser- American choral music has been domi- of instrumental music, and more and vation is relevant to any piece of music nated by largely homophonic textures. more, they encouraged their students to in any meter from any style period.) However, in recent years, the trend is to- do the same. By the end of the century, All great composers of the past ward writing more intricate polyphony, the degree portfolios of American uni- learned by imitating the masters. Young especially given the high level of vocal versity students (including their theses composers benefi t immensely from skills in choral singing. Today, American and/or dissertations) were fi lled almost composing pieces based on historical choral directors program a much wider exclusively with instrumental music. models. Rimsky instructed Stravinsky to and more diverse range of choral music Occasionally, a portfolio might include write his early Symphony in E fl at based than ever before, and often new works an art song or maybe a song cycle, but on a Glazunov symphony. The smart stu- strongly favor a more contrapuntal— rarely a choral piece. dents understand this; others may balk rather than a predominantly homopho- Recently, the balance of genres in at modeling as stifl ing their originality. As nic—approach to part-writing. composition programs has begun to Nadia Boulanger said: “One isn’t original In light of the circumstances de- change. In part, this is due to the admi- by choice. True personality in music is scribed above, which characterize the
CHORAL JOURNAL Volume 55 Number 1 15 TOWARD A CHORAL PEDAGOGY
American choral scene at present, I rec- 6) What fi ve pieces of advice would three-dimensional experience of ommend that aspiring choral composers you give to a young composer who music. complete a comprehensive curriculum is preparing to compose one of his of technical courses that focuses on the or her fi rst choral works? 3) Memorize your text and have a clear composition of polyphony (see ques- point of view about the scene you tion 2). Actually, I recommend this cur- CONTE: are creating. Composing with text riculum for all composers—both vocal is to compose “character-driven” and instrumental—since it is particularly 1) Sing in a chorus. music. This exercise is also relevant strong in foundational studies that will to the composing of opera, solo greatly benefi t any serious musician. If a 2) Memorize at the keyboard a number vocal music, and fi lm music, which composer is not studying at an institu- of short choral works of the mas- can be a great motivator for young tion, he or she should accomplish the ters, drawing from all style periods. composers to write choral music. equivalent of the aforementioned cur- Why the keyboard? Because the riculum through rigorous independent fi ngers lead the brain and the 4) Do not write anything you can’t sing study. ear. The keyboard insures that a yourself while playing all the other musician is experiencing with his parts, in tempo, from beginning to or her own body both horizontal end. In other words, duplicate as and vertical relationships—a true completely as possible the expe- rience that every singer will have singing your piece.
5) Conduct and teach your own choral music to a chorus.
SAMETZ: Let your music 1) Pick a text that sings to you. Writing to a text that doesn’t bring out be heard… some interior soundscape makes the going very rough. Then get in Ireland! rights to the text before setting it. Heartache ensues later if permis- “I can’t tell you how much sion to set the text is denied. I appreciate your work on the tour. My mind is full 2) Know the choir and the space you are of wonderful memories, writing for. It’s far different writing including breathtaking sites for a junior high school choir as and outstanding performance opposed to a top-tier professional venues. I cannot imagine choir. Excellent music can be writ- having experienced ten at all levels. When possible, fi nd a better trip.” out the acoustic of the hall where the piece will be premiered. Those — Dr. Christopher W. Mathews, Conductor of us who’ve been privileged to Union University Singers and Voices of Proclamation perform Renaissance masses in Ireland Tour, 2014 European churches know how right that environment is for the Witte has been arranging exceptional work. Your work can also be concert tours through Ireland 800 GO WITTE wittept.com complemented by and designed and the rest of the world since 1975. for specifi c acoustical spaces.
16 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS
3) Find a choir to try things out on, 5) During the process of creating your SAMETZ: Read poetry. Preferably, more preferably one you sing in. Choral work, sing it and play it at the key- than what is available online, which is singers are adventurers and gen- board (both the full score as well often limiting. Find what sings to you off erous spirits. They aren’t usually on as the piano-vocal reduction) so the page. Determine if the text is better a union clock, and their feedback that you personally embody the suited to a choral or solo setting: great can be incredibly useful in the counterpoint and physically “be- hymns of congregational praise, masses, process. come the music” as you continue texts that deliver a universal message to compose. are ideally suited to choirs. While it is 4) Models can be useful, but try to write possible to set an intimate love text for what you hear, not what you’ve massed voices, it might be more effec- heard. 7) How do you advise a student to tively set for solo voice. fi nd an appropriate text for choral I was once asked to set the Bill of 5) Be aware that the more clearly you music? What makes a great text for Rights. While it has greatness and history present your work on the page, choral setting? behind it, it’s not the most singable text. the faster and easier your singers (We ended up fi nding a different text to (or players) will give you what you CONTE: There is a gradient of diffi culty set.) Many people will tell you to look want. Dynamics, phrasing, and a regarding texts. Many ambitious students for open vowels in the text itself, which word or two about character will will want to set poets like e. e. cummings can be helpful, particularly in consider- make your intentions clear and or Gerard Manley Hopkins right away. I ation of tessituras (it’s nice if the line give the singers a chance to realize advise starting with traditional texts; for goes to a high part of the phrase on a those intentions. example the Kyrie, for which there are user-friendly vowel). English can present many contrasting models and which particular challenges. Britten and Purcell KYR: has a straight-forward, three-part form. give us brilliant models for setting English Look for vivid imagery. Look for the im- beautifully. 1) Sing in a chorus on a regular basis and perative tense, as it implies a heightened We know when a text sings to us, immerse yourself in the choral art, intention, which invites singing. Strong though this quality may be intangible. including conducting if you are rhyme and meter in more traditional po- That intangibility, that mystery, may be interested in it. etry help the student composer connect the key to why music is the right lan- the grammar of language with musical guage for a certain text. Music highlights 2) Study the art of counterpoint in great grammar. what Gerard Manley Hopkins called an depth and in a rigorous way, espe- One consistent problem I see with “inscape”—that interior landscape that cially the music of the Medieval, young composers is that the musical is beyond words. Music is the perfect Renaissance, and Baroque periods rhetoric does not match the arc of the medium for translating that inscape. (particularly, the works of Josquin text. Such pieces are more settings about What makes for a great choral setting des Prez and J. S. Bach). a text rather than settings of a text. Even is the amount of heart and mind that is if the music is beautiful and idiomatic for communicated musically and textually. 3) Study, analyze, and repeatedly listen chorus, such settings do not serve the When it works, it’s the embodiment of to the greatest music of the genre text but rather work against it, obscur- why choral music exists in the fi rst place. that is relevant to your project. ing the meaning of the text for both the Whenever possible, sing through singers and the listeners. I fear that many KYR: It is crucial for a vocal composer each line within the musical tex- modern performers and listeners don’t to learn how to read poetry in an intel- ture while playing the other parts pay enough attention to the words. ligent and imaginative manner. In seeking on the piano. The pronoun “we” is natural for chorus, a text for musical setting, I advise my which is after all a group of people students to read a very wide variety of 4) Know your text “from the inside expressing something. But there is also poems, both internally and aloud. It is out”—analyze and read it aloud what I call the choral “I,” so often seen essential to experience the sound di- many times in order to directly ex- in Whitman’s poetry, which, because of mension of a poem as well as its literary perience and internalize the sound its visionary quality, is ideal for chorus. content. After all, great text setting for of it so that you never separate its chorus is an embodiment of the inner inner life from its physical reality. life of the text through sound in order to
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convey emotion and meaning through language. If one is not completely fl uent whole. There is a keen sense of the mu- the blended voices of the chorus. This is in a language (spoken and written), it is sical breath as related to the phrasing. a profound mode of communal human wise to work with a native speaker in or- expression that does not have a parallel der to truly “become the text” through SAMETZ: We should all want to know in any other art form. In seeking a text, a deep understanding of pronunciation, the major great works, and that is a it is important to remember that the word stress, and expressive nuance. In lifelong pursuit. We are in an age where chorus is a communal voice (“we”) and particular, English is an especially dif- our bedrock—the glory of Renaissance does not behave as an individual in the fi cult language to set to music due to counterpoint—is heard and performed sense of being a soloist (“I”). It is always advisable to know the community for which you are compos- ABOVE ALL, CHOOSE A TEXT THAT REFLECTS YOUR ing while seeking a text that is imme- diately relevant to each singer in the OWN VOICE—A TEXT THAT BEARS THE STAMP OF chorus. It is wise to choose a text that explores a basic human theme that has YOUR OWN CONVICTION, EVEN IF YOU ARE NOT true resonance in the lives of those ITS AUTHOR. who will be singing your music. Above all, choose a text that refl ects your own voice—a text that bears the stamp of your own conviction, even if you are its diphthongs and hard consonants at less and less. Studying Renaissance not its author. In this regard, I prefer to the ends of syllables and words. Beware counterpoint can be quite a trial; ex- write my own “text for music” rather when setting English, even if it is your periencing Renaissance counterpoint than setting a found text, because it fi rst language, because it is fraught with (preferably as a performer) is to en- enables me to create the text and music sonic diffi culties in regard to communal counter the essential beauty of voices simultaneously. word setting! One must take special care in harmony and motion. When I was For those who are primarily inter- to set it with great attention to linguistic an undergraduate, I studied Ockeghem, ested in setting found text, which is detail and vocal nuance so that every Obrecht, and Josquin; it meant very little the vast majority of composers, the word can be clearly understood. until I was inside it, performing it. Curios- compositional process demands that ity led me to sixteenth-century Italy and one fi rst owns a text as though he or a love for Lassus, Palestrina, Monteverdi, she is the author of it. The more psy- 8) What are your criteria for deter- Marenzio, and Cipriano de Rore. chological distance that exists between mining a canon of choral works that Our art is grounded in an era when the composer and a chosen text, the all composers (especially aspiring the voice was the primary instrument. less convincing the setting. A vocal com- choral composers) should know? If we lose this connection, we lose poser should strive to create text and our treasure. Knowing Schütz, Schein, music together “in the fi rst person,” as CONTE: In great choral music, every Scheidt, and Buxtehude allows us to opposed to merely projecting sound at decision of the composer regarding more fully understand the roots of words as though they were static, lifeless melody, harmony, rhythm and tempo, Bach’s amazing contrapuntal versatility. objects. Thus, in regard to a found text, texture, and color grows organically out The major works of the eighteenth and the compositional process begins with of the text. When this is the case, the twentieth centuries are a living history textual analysis and repeatedly reading meaning of the words as an expression of the growth of the choral art to the it aloud until the composer becomes the of the experience of the speaker of symphonic level. The small bands that author of the text. This is a prelude to the text is intensifi ed by the music and accompanied Haydn masses expanded co-creating text and music together as is more alive and vivid than the words over time to the symphonic propor- a unique sonic expression that is greater alone. For me, this is the only reason to tions of a Mahler orchestra, and choirs than the sum of its parts, thus transcend- set any text to music: to illuminate the grew accordingly. Tracing the history of ing the written word. emotional qualities of the text through major works from Mozart’s Requiem to I urge my students to be cautious in music. Each individual line has its own Daphnis and Chloë to the War Requiem setting texts that are not in their fi rst character and integrity yet fi ts into the provides a roadmap of the organic de-
18 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS
velopment of the choral art. a work and criticizing it in a substantial • Josquin des Prez—Missa Pange lingua way is often an important part of the KYR: Whenever it might prove to be learning process. • Monteverdi—Vespers of 1610 benefi cial, I ask my students to trace their “musical-spiritual” lineage beginning • Bach—H-moll Messe, with Hildegard von Bingen and proceed- 9) Name ten choral works that you Matthäuspassion ing to the present day. First, I ask the believe must be included in a choral student to write down the lineage as repertoire that all aspiring choral • Fauré—Requiem he or she perceives it at present. Then I composers must know well. ask him or her to imagine an expanded • Beethoven—Missa solemnis lineage that extends over the past ten CONTE: I would expand this list some- centuries of musical creation. Next, I give what to include groups of composers • Bruckner—Mass in e minor numerous listening assignments so that associated with a single genre. Also, the student’s perceived lineage becomes many of the choral/orchestral works • Stravinksy—Symphony of Psalms a fuller and more expansive one through on my list include signifi cant passages of a process of extensive listening and in- unaccompanied writing. • Britten—War Requiem depth score analysis. My own perceived ten-century • Examples of Gregorian Chant, for ex- • Lutosławski—Trois poems (1000-2000) lineage is: Hildegard von ample Victimae Paschali Laudes d’Henri Michaux Bingen—Léonin—Pérotin—Machaut— Dufay—Josquin—Lassus—Montever- • Selected motets of Palestrina, Byrd, KYR: I have put my list in chronological di—Schütz—Bach—Haydn—Mozart— and Victoria (including Archibald Da- order with some of the ten entries con- Beethoven—Schubert—Schumann— vison’s SSAA and TTBB arrangements sisting of two or more works to study Brahms—Mahler—Schoenberg—We- of these works) and compare: bern—Berg—Stravinsky—Bartok— Messiaen. I’m always striving to “fi ll in • Monteverdi madrigals; other selected • Hildegard von Bingen: Choose at the gaps” and learn as much new music madrigals (The A Cappella Singer, fi rst least three of her chants that were from both the past and present as I can. published in 1935, remains a fi ne col- intended to be sung by a community Following are select examples of my lection) (as opposed to chants that were cre- primary criteria for determining my own ated for a soloist) musical-spiritual lineage: the spiritual • Handel—Messiah depth and quality of the text; the ef- • Dufay—Select at least two of his fectiveness of text setting in regard to • Bach—B minor Mass thirteen isorhythmic motets (recom- the inner meaning of the text, and its mended: Ecclesiae militantis and Nuper technical demands in both linguistic and • Brahms—Requiem rosarum fl ores) sonic terms; the clarity and audibility of the words in text setting, as appropriate • Vaughan Williams— • Johannes Ockeghem and Josquin des to the intention and aesthetic of the Dona Nobis Pacem Prez (teacher and student) —Study composer; basically favorable reception and compare a “l’homme armé” mass of the work over time within its own • Boulanger—Du Fond de L’Abime by each composer culture and across the boundaries of all cultures (transcultural, universal). • Stravinsky—Symphony of Psalms • Monteverdi—Vespers of 1610 Please note that these examples are highly personal, and I am not sug- • Susa—Six Joyce Songs: Volume Two • Bach—Mass in B Minor gesting that they are a universal set of standards for determining the supposed SAMETZ: • Haydn—Die Schöpfung “greatness” or inherent value of a work. (The Creation) A student can also learn by studying • Gregorian chant—Victimae paschali music that does not succeed in certain laudes • Mozart—Requiem (study and com- regards; the process of getting to know pare the Sussmayr and Levin versions)
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• Beethoven—Missa Solemnis SAMETZ: Chant: pure melodic vocal polyphonically motivated harmony that line and rhythmic impulse; Josquin: mo- is inventive and clear in design; dynamic, • Brahms—Ein deutsches Requiem tivic development/variation of a given rhythmically energized (“charged”) tex- (A German Requiem) melody, contrapuntal mastery; Bach: tures; revelation and epiphany through infi nite variety of contrapuntal styles sound, transcendent sonic architecture • Verdi—Messa da Requiem and textures in Bach’s lexicon, color (a “living musical cathedral”). and orchestration in the Baroque era, Franz Josef Haydn (Die Schöpfung/ harmonic invention through fi gured The Creation): economy of means on all 10) Choose 2–3 examples of choral bass; Faure: lyricism, voicing, modal har- levels of musical structure; compelling works from your list above and tell monic treatment; Bruckner: sonority in drama and pacing balanced with impec- us what a young composer can learn the romantic era; Stravinsky: orchestra- cable musical craft; brilliant use of mo- from these particular works. tion, choral stasis, declamation of text; tives within inventive, clearly articulated Beethoven: overstraining the vocal tech- musical structures; fl ow, fl uidity and fl u- CONTE: Brahms’s Requiem is an in- nique to the greater glory of God and ency of melodic phrases and structures; exhaustible resource for the aspiring man; Britten: text setting, architecture, melodic, motivic, and harmonic inven- choral composer. An in-depth analysis rhythmic impulse; Lutosławski: extended tion in quick, energized music; the art of the opening unaccompanied passage vocal techniques. of accompanying voices with textures from the fi rst movement (Selig sind) Young composers should be encour- that are never too dense or overwritten; represents the perfect poise between aged to hear choral music of all kinds. clarity of form within elegant, effectively harmony and counterpoint. Each line is The list points toward a variety of styles, articulated sonic architectures; “less is independent and has its own shape and but if young composers discover pieces more” (much more). character and high and low points yet they fi nd compelling, they should study fi ts into a harmonic syntactical whole. those closely to fi nd out why that is so. Stravinsky’s Symphony of Psalms is a 11) If a young composer writes great example of expert choral writ- KYR: Hildegard von Bingen (communal several choral works, how will it ing using twentieth-century idioms. The chants): melodic contour and fl ow; use affect his or her compositions in language is fresh and original but also of breath to create melodic shape and other media? contains many thirds and sixths, which is design; phrase structure—inventive one of the secrets of choral writing, as it and varied, symmetry and asymmetry; CONTE: Again, writing choral music grounds the harmony with the overtone implied harmony in a monadic genre; keeps a composer honest; one must series and is natural and gratifying to economy of means in regard to melody hear and be able to realize everything sing. This work can be effectively sung and phrase; embodiment of the inner one is writing. It protects against being by amateur choruses. life of the text through sound; simplic- seduced by an over-reliance on abstract Conrad Susa’s Six Joyce Songs has ity, clarity, and elegance of line; spiritual musical systems. Writing character- many deft and felicitous touches of what immediacy of the textural/musical ex- driven music develops a composer’s I would call “chorestration,” meaning he pression. imagination and resourcefulness and at- often inverts and crosses voices to get Johann Sebastian Bach (Mass in B tunes them to the exact “affect” of every a particular color on a single word or Minor): masterful use of contrapuntal note, chord, and rhythm. The greatest in- poetic phrase. For example, the altos devices in service of the inner meaning strumental music can be said to “sing,” to may sing below the tenors, much in the and life of the text; variety of texture have the vocal impulse behind it. In this same way that in some skillful orchestra- within complex yet clear polyphony; age of technology, where the electricity tion the violas may be placed below the embodiment of the inner life of the of MIDI is replacing the actual physical cellos. More ordinary choral music sim- text through abstract yet emotionally mastery of performing skills, composing ply will place the voices in conventional compelling sonic architecture; perfect choral music keeps the composer con- order. Susa’s musical choices are at all balance of all compositional elements nected to the breath. times driven completely by the text and within a convincing musical/rhetorical express a wide range of color within a argument; interweaving of voices and SAMETZ: A composer may fi nd that fairly straightforward musical vocabulary. instruments in a right relationship to writing choral music lends color and each other, especially in regard to blend; character to instrumental writing. Com-
20 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS
bining music and words affords us two that come with needing to breathe. a layering of static lines or textures luxuries: we have a starting point for the Young composers writing choral music at the expense of clearly articulated imagination (the character of the lines may fi nd that their instrumental music counterpoint. Composers can greatly will match the text) as well as a starting starts to breathe more. benefi t from studying and composing point for compositional parameters that polyphonic choral music that transcends arise from the text (rhythm, harmony, KYR: There can be no doubt that if a these limitations. In creating vocal and/or orchestration or voicings, even overall young composer is involved in vocal instrumental music in any harmonic style, length of the piece will grow from tex- and instrumental music—as performer, beware the all-too-frequent “default tual considerations). theorist, and composer—it will have a mechanisms”: endless ostinato; aimless Writing idiomatically for voices cre- positive effect on both genres of music. drones; non-functional pedal points; ates a “singing line,” which instrumental- However, it greatly depends on what harmony that is merely textural and ists throughout history have sought to kind of music we are talking about within without linear integrity; and excessive emulate. There is a naturalness in writing each genre. layering of musical fi ller (the so-called for the voice, a connection to the body For example, if one composes vocal “choral/orchestral lasagna”).
12) What criteria do you use to FOR MANY YEARS, DRIVEN BY INCREASING evaluate a new work by an aspiring TECHNOLOGY AND AN UPTICK IN THE SPEED OF choral composer?
LIFE IN GENERAL, THERE HAS BEEN A DEVALUATION CONTE: An experienced choral com- OF THE LYRICAL. poser can see in a younger composer’s work whether it is “chorally minded,” meaning that it takes into account the unique psychology of the choral singer. and breath that creates a type of line or instrumental music that is primarily Composers like Handel, Mendelssohn, that most wind, string, and keyboard homophonic in nature, in which most and Brahms seem especially canny in players are grateful to play. For many parts are fi ller in support of one or two giving each singer exactly the next note years, driven by increasing technology principal voices, then probably the way they want to sing! Choral music that and an uptick in the speed of life in that one composes in one genre will not enters the repertory gives back to each general, there has been a devaluation greatly affect the other. However, if one singer more than they put in; the piece of the lyrical. Writing for choirs (which composes polyphonic music in which doesn’t have to be negotiated but is often love slower, richer harmonies) has all parts are playing primary thematic simply “sung.” value in grounding us, bringing us back material, then composing in either genre to a less mechanized sense of time. Ma- will signifi cantly enhance the other. SAMETZ: I take a long time to try chines don’t breathe; people do. If we It is not enough to compose for the to get to know a student’s work and want our music to reach people, it has to voice and expect musical miracles to language. Mostly, I am trying to deter- breathe. As composers, it is essential to happen. Mostly, one needs to compose mine if the work arises organically. Most have access to this longer, broader sense vocal music that is truly polyphonic that young composers fall into the trap of of human time. It is not that choirs can’t results in dynamic, energized harmonic continuous exposition: a great two- sing fast music (although we’re seeing motion. If a young composer is encour- bar idea followed by another (maybe this less and less); but even in “active” aged to follow this path, his or her instru- equally great) two-bar idea that doesn’t music, there is usually a slower harmonic mental music will improve exponentially necessarily arise from or relate to the rhythm in vocal music than in fast in- in regard to musical substance, clarity of fi rst. Development is frequently harder strumental music. There is a breadth line, and harmonic vitality, regardless of than exposition. And, while it’s great to of musical line that matches the breath style or aesthetic. stretch the limits of choral technique, of the singers. Much new instrumental The standard instrumental fare of there are considerations of idiomatic music doesn’t “breathe”: there is almost our times—whether it be chamber choral writing: does it work for choir? a fear of silence or of the ebb and fl ow or orchestral music—generally favors
CHORAL JOURNAL Volume 55 Number 1 21 TOWARD A CHORAL PEDAGOGY
KYR: In general (and noting that there all infl uenced by the context of one’s in- tonal syntax of any pitch combination, will be exceptions), I start by asking if dividual background and general culture. and then switch to Fixed Do in order the fundamental musical material of the For example, when Debussy auditioned to relate pitches to their written repre- work is truly memorable. Then I look at at the Paris Conservatory at the age of sentation on a line or a space of all of whether or not the music breathes both ten, he played from memory the Chopin the seven clefs. All other activities, such rhythmically, melodically, and harmonical- G minor Ballade. as the study of harmony, counterpoint, ly. Is the text set in a way that allows the We can ask ourselves: What kind orchestration, and analysis, will be in- most signifi cant words of it (so-called of musician is this ten-year-old? One formed by this foundation. “key words”) to be fully experienced? might say: “Well, Debussy was one of Composing, like any human activity, The text should be brought to life in a the greatest geniuses of music; he is a ends up being an expression of one’s way that is more than mere “highlight- special case and proves nothing.” But I character and one’s level of commit- ing”; it should be infused with a deep- ened expressive meaning through the musical setting. Is the form of the text effectively conveyed through the form TODAY, ONE OF THE GREATEST CHALLENGES FOR of the music? Are the dynamics carefully YOUNG CHORAL COMPOSERS IS TO FIND OR marked in a way that is helpful to the singer? Is the work harmonically alive, fa- WRITE COMPELLING TEXTS THAT ARE IDEAL FOR voring energized harmonic phrases with linear integrity (regardless of harmonic MUSICAL SETTING WHILE BEING RELEVANT TO THE style or aesthetic)? Are the inner voices LIVES OF THE SINGERS AND LISTENERS. in the work more than mere fi ller? Is the melodic and harmonic profi le of the music such that the vocalist will want to sing it throughout the rehearsal process encourage my students to have the high- ment. Boulanger famously said: “Either and for repeated concerts? est role models possible. I tell all aspiring devote your entire life to music, or composers that they should ideally learn abandon it now. Not to do this is like to play the piano as well as possible and marrying someone you don’t love. I 13) What are the greatest challenges work to memorize as many pieces as myself have never been married, but I that face young choral composers possible; and sing as much as possible, don’t think it’s a good idea.” I love both today? which connects one to the breath, which the rigor and the humor and humanity is in fact the source of all human activity. in her words. In order to be worthy of CONTE: Composers interested in I worry greatly that the new technology the greatest heights of what music can writing choral music are in some ways available to many composers can sepa- give us, we must devote ourselves to a luckier than those interested in writing rate them from the breath and can lead kind of discipline that is the very defi ni- orchestral music. It is much easier to to what I would call “assembling” rather tion of character. This is relevant to the get both readings and performances of than composing. A composer’s music is a composing of a piece for any medium. choral pieces. Choral conductors are direct refl ection of what kind of musician often vigorous champions of commis- they are. Young composers often fall into SAMETZ: Choral composers have it sioning, and there are many wonderful two categories: those who need to listen easier in many ways than instrumental opportunities: competitions, residencies, less and imagine more, or those who composers (or opera composers!). etc. To broaden the question to include need to imagine less and listen more. I There is almost always a guinea pig choir, young composers in general, I fi nd the fi nd that today there are many more in usually quite willing and excited to try greatest challenge lies in how to acquire the second category. Imagination with- something new. Do not be afraid to ap- the kind of technique that enables a out a trained and grounded ear easily proach a choir and ask if they will read composer to write in all genres with becomes abstract. To that end, I believe a piece. The collaborative process is alive fl uency. The development of any com- that all composers should master fi rst and well in America. Once the piece has poser’s style is built upon the interplay of Moveable Do until they can hear and had a trial run, there is the question of mysterious habits, intuitions, and choices, sing without hesitation the modal and getting it out into the world. We are cur-
22 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS
rently at a crossroads in terms of how as both a singer and a composer so that Lincoln Portrait. I don’t experience our we bring our music to a wider audience. the director asks him or her to create country as having this kind of unity at It’s essential to have an online presence a new work for the ensemble. This will present. I would add that not all artists at this point, and it’s hard to predict what enable the student to be fully involved in today see the establishing of a school as will receive attention. the entire rehearsal period and the con- important. It is my own desire to con- The economic practicalities today cert performance. This same philosophy nect to the great traditions of the past are such that there are very few full- of engagement holds true for student that causes me to continue to hope that time choral composers. It is useful to composers who are making a transition schools may be established in all genres be able to conduct our own music. We from the academy to professional life. of American music. are frequently our own editors and In addition, there are a number of marketers; as such, we need working other professional challenges that com- KYR: Simply put, it’s the music created profi ciency with both music engraving posers face: acquiring permission to set by composers who are either Ameri- and website software. And it is not un- published texts that are under copyright; can by birth, naturalized citizens, or usual for our compositional careers to cultivating professional relationships self-identifi ed Americans on the way to be supported by other vocations. The that result in the commissioning of new becoming citizens. Kidding aside, I think model of Charles Ives, who made his works; deciding on a form of publishing that the intent of the question is to living in insurance while still compos- scores and parts that works best for encourage the respondent to maintain ing, is perhaps more valid than ever. At you; obtaining opportunities that lead that there is a group of more-or-less Lehigh University, we encourage double to the recording of one’s choral music “famous” American composers who majors whenever possible; both passion on compact discs that are distributed form a readily identifi able and relatively and practicality must be served. nationally, internationally, and/or via the cohesive American school of choral internet (as downloads); and developing composition. Of course, this forces one KYR: Today, one of the greatest challeng- a far-reaching online presence. to ask, “Famous or noteworthy accord- es for young choral composers is to fi nd ing to which American(s) and according or write compelling texts that are ideal to whose criteria?” for musical setting while being relevant 14) How would you defi ne an Amer- The jury is still out on all of this. Our to the lives of the singers and listeners. ican school of choral composition? country is too diverse, too multicultural, Although it is not so diffi cult to fi nd texts too intercultural, too impossible to ac- that are interesting or moving, they are CONTE: One thinks immediately of curately categorize. It is not helpful to often more literary than they are sing- Virgil Thomson’s answer to the ques- try to fi t the teeming reality of American able. In short, good literature does not tion: how does one compose “Ameri- musical life into any one box. Moreover, necessarily make superb “text for music.” can” music? His answer: simply be an I love the fact that we are currently in a Likewise, it can be challenging to fi nd or American and write whatever music period of cultural development in which write texts that address contemporary you wish. There is a simple truth to this. we have a multitude of superb choruses issues that are important to an entire For me, however, an important line of of all types that extend from sea to shin- chorus as a community. Frequently, such inquiry begins with the question: “What ing sea. Since there is enough choral mu- texts can be too abstract, too discursive, is a school?” Randall Thompson wrote in sic of quality being written in all genres, or too verbose for musical setting. 1959 that America had yet to produce a we don’t need to create a class system Another challenge facing young cho- school of choral composers equal to any for composers (i.e., a limited “in group” ral composers is how to form an ongo- of the great civilization of Europe over and “out group”), which will only restrict ing artistic and professional relationship the previous several hundred years. One the access of listeners to a diverse range with a choral director and his or her may ask if fi fty years later this is still true. of musical expression. community of singers. In order for the I believe that the creation of a school is Ultimately, the direction of American composer to develop a relationship of built on a country’s unifi ed sense of itself. choral music is continually being de- this kind, he or she must be willing to Our country was never more unifi ed termined by choral directors and their devote a substantial amount of time and than during and for a time after the end choruses who are either performing the energy to becoming part of the commu- of World War II. This enabled Thompson music or not, and by listeners who are nity. It is ideal if a student can bond with to create a work like The Testament of either partaking of it or not. The tastes his or her high school or college chorus Freedom and Copland a work like A and sensibilities of artists and listen-
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ers will continue to shift according to John Adams’s remark about never hav- descriptors. Current choral composition the greater changing of life within and ing been offered the opportunity to has certainly found a resting place in around us; from this, American musical compose choral music in his education chord clusters, slow harmonic develop- culture will continue to evolve—ever points to this. ment, and lyricism. diverse and always defying simple cat- Randall Thompson was correct when We have an authentic Afro-American egorization. In many ways, this indeter- he diagnosed the “problem” of choral tradition in spirituals, which is one of minacy is a national attribute, not just of composition: many twentieth-century our greatest treasures. But sadly, at this the people themselves, but of the music compositional techniques do not lend time there is no living tradition of folk that has arisen from us during our brief themselves a priori to chorus. The fur- music in this country (and increasingly and somewhat illustrious history. ther away from the vocal impulse one across the globe). Minimalism, which gets in composing, the more quickly mu- has roots to some degree in America sic can lose its connection to our basic (via India and Indonesia and a host of 15) Do we have a fully developed humanity. I often ask myself the question: world music sources) was perhaps the American school of choral composi- “Has the human voice and the human last great break in musical forms that tion in the United States today? ear really changed signifi cantly over the shook America. It has taken hold less in centuries?” In certain fundamental ways, the unaccompanied choral repertoire CONTE: I think not, even though many it has not. than in the orchestral works with choirs fi ne choral pieces have been composed Yet, there is a profound truth in of Glass, Reich, and Adams. by Americans. The ever-present strain of Kodály’s statement quoted earlier about My sense is that we are in a transi- “American Exceptionalism” has led in folk music. We do indeed have a major tion period. Audiences were alienated many cases to reluctance of Americans body of folk music, which could be said by the post-Darmstadt aesthetic of the to submit themselves to certain age- to extend to our many forms of popular academy from 1950 to the end of the old disciplines of learning. It also has led music. Ahmet Ertegun, founder of Atlan- twentieth century. There seems to be a to a paucity of suitable contemporary tic Records, said: “Black Music became historical pendulum swing in progress texts for serious and sustained choral the music of the world…There’s beauti- from more cerebral “Enlightenment” utterance. In light of this, one might ask: ful music in every country, but there is thinking to a more emotional, romantic “Where are the extended works for only one music that travels everywhere model. This alternation can be seen at chorus and orchestra composed by and that’s Black American Music.” If this various points in music history, and I Americans that are in the repertory?” is true, one might say that the closer our think we’re in the middle of a shift. It will Has our country produced a work equal choral music is to the infl uences of our be interesting to see where we end up. to, say, Brahms’s Requiem? This is a com- popular music, the more “American” it pelling question. Brahms had composed is, and we can start to see the emer- KYR: It’s a trick question, of course! If over sixty works for chorus, many of gence of a true school. Again, many we agree that America is only around them unaccompanied, before compos- people may think that having a school 250 years old, then virtually any aspect ing his Requiem. Even if one can’t exactly is irrelevant. My own belief is that only of our cultural history is still too young defi ne what a masterpiece is, one can a society that has some kind of unifi ed to be fully developed. However, if there say that there are conditions without view of itself is capable of producing a is no easily defi nable American school which masterpieces cannot be created. school of anything. I fi nd this to be a of choral composition (see question These conditions need to be nurtured virtue. As Auden said: “Only in rites can 14), then one cannot argue that it is and developed; this remains our task! we renounce our oddities and be truly fully developed now, although one might Also, as I posited earlier, choral music entired.” (“Entired” here is an archaic but argue that it is in the process of being remains lower in prestige than sym- very poetic synonym for “whole.”) developed and will eventually become phonic and chamber music. This peculiar a coherent, cohesive entity. Collectively, status has led to choral groups, clamor- SAMETZ: I think Europeans view the those are big “if’s,” and if they become ing for the kind of media attention that American school as tonally oriented, a reality, an American school of choral orchestras routinely receive, to court melodic, and somewhat conservative. composition will most likely need to composers established in instrumental This may be the case: much of the choral somehow encompass the vastness music to write choral music who have music that has attracted a wide audience and diversity of our entire “rough-and- little or limited experience doing so. in past decades would fall under these tumble” culture.
24 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS
What might it take for such a school aged to sing in a chorus, memorize locally produced found a local audience. to come into being? I think ACDA is poetry, and compose choral music. All We now live in a unique time where encouraging the development of an composers should have a certain level we can pull up fi eld recordings of Aka American school of choral composition of musicianship that enables them to “di- Pygmy music or ninth-century Grego- in the right way. More than ever, com- gest” and learn from the music of others. rian chant. Our tastes are far fl ung and posers are welcomed into the organiza- To take the broadest possible view, tion, especially younger ones who are I think there is a strong argument for eager to compose a sizable output of building composition programs on the choral music. This is great news and is a foundation of writing vocal music, which signifi cant part of the American Choral will connect the young composer to Renaissance that I mentioned earlier. the breath, to text, to writing character- My hope is that composers who are driven music, and to gaining an under- truly dedicated to the choral art will join standing of how our musical language together to help foster ideal opportuni- has evolved naturally and organically out ties for the creation and performance of of vocal music, especially choral music, new works, especially by younger com- beginning with chant. The world is both posers who are just starting out in the a much bigger and smaller place now, fi eld. For example, it would be helpful to with the entire repository of music create internships that connect young readily available to all. While this offers composers with particular choruses for many possibilities for young composers, a yearlong project that features a men- I would caution that one cannot add tored compositional process and the on endlessly; there has to be time for performance of the resulting new work, true assimilation. A varied diet is great, perhaps premiered at an ACDA event. but the basics of good nutrition have to This approach will greatly further the be there for maximum musical health! development of a cohesive, yet diverse, Institutions of higher learning have to twenty-fi rst-century American school of work to counteract the dominant com- choral composition. However, if it is to mercial impulses in the culture now to have a lasting effect, a program of this encourage young artists to see them- kind will need to be well funded, well selves not merely as consumers but as organized, and sustainable over a sub- judicious assimilators of what will truly stantial period of time, probably half a nourish them. century at the very least. This long-term kind of thinking, planning, and action has SAMETZ: My ideal vision of choral ped- eluded Americans in the past and is one agogy invites composers to sing (both reason why we have been unable to in terms of ear-training and performing identify and sustain a cohesive American repertoire), listen (to a wide variety school of choral composition. of repertoire and to as many types of choirs as possible) and question deeply (both how things are constructed and 16) What is your ideal vision for how text and music fi nd expression). developing a comprehensive choral The question of an “American pedagogy for composers to bring School” of choral composition invites a about the further development of nationalistic response, and I’m not sure an American school of choral com- we’re living in an age of nationalism. position? Monteverdi, Mozart, Grieg, Tchaikovsky, or Verdi—they all began writing for local CONTE: Practically speaking, aspiring audiences, shaping their works to local choral composers should be encour- tastes. More importantly, the music being
CHORAL JOURNAL Volume 55 Number 1 25 TOWARD A CHORAL PEDAGOGY
instantly gratifi ed, but they are not local- into an American School. We see the some instruction in the area of choral ized. Musical globalization—for better confl uences of cultural migration around conducting, including training in score or worse—is a fact of life. Our young us every day. Given this, it’s unlikely that preparation; 4) study in the area of composers are listening to Beyoncé an American School would have any piano performance that will enable the and Beethoven and beyond (and that one voice at this time. That may be a composer to play from a full score and sentence may be dated by the time of strength. Multiculturalism may be chaotic play a piano-vocal reduction as a choral this publication). They are constantly and messy, but it allows for almost any accompanist (in order to rehearse one’s infl uenced by music and video that are outcome. There is the danger that we own music with a vocal ensemble); 5) not defi ned by any given time period will ignore historical pedagogy—which participation in summer festivals, sym- or geography. Technology makes us takes time and a prolonged attention posiums, and master classes that have consumers of a thousand years of music span—in favor of fl ashiness. But I hope a substantial choral component; 6) at- from all over the world. (Corollary to that there is something hardwired in tendance of a large number of choral this are the dilemmas of a) the daunting us as composers that still asks deeper rehearsals and concerts, especially those task of comparing ourselves to so much questions, no matter what the “school” that are performing masterworks from history; and b) audiences not confi ned of thought, and that we will continue to the repertoire and new works that in- to live music as they were in the past can make art that seeks to answer those volve some coaching by the composer; ignore contemporary music entirely.) questions. 7) internship programs are essential for In light of this global assimilation, it the development of composers who would be hard to say whether there KYR: Ideally, a choral pedagogy should are devoted to the choral art (see is an “American School” of composi- have the following components: 1) rigor- question 15). tion. Like Ives, we may fi nd ourselves ous technical study at the post-baccalau- Although this comprehensive cur- wondering why we’re indoctrinated in reate level (or the equivalent thereof) in riculum is important for the artistic de- European common practice and then the areas of choral composition as part velopment of the choral composer, the asking ourselves, “What is American of an acoustic composition program, personal development of the individual music?” His answer was in that rug- music theory, choral history, and choral is equally (or even more) important. At ged individualism that has come to literature, including extensive listening its root, choral singing is a community be identifi ed as an American trait. But to repertoire; 2) at least one course in activity, and a choral composer needs uniqueness does not necessarily mean literature that focuses on the reading to understand the musical needs of a “American.” We export much of our and analysis of poetry as both a spoken community that is striving to create a entertainment industry’s music, and this and written art, and if one wishes to healthy, vibrant, collective sound. The is usually rooted in European traditions write his or her own text, then at least choral composer needs to develop and is emulated throughout the world. one course in creative writing; 3) exten- communication skills that are essential But is that what we choose to identify sive experience in choral performance, for collaborating with a choral direc- as American? including singing in a chorus for at least tor and a community of singers, and I think it is unlikely we will coalesce one year (and preferably longer), and for sharing important information and insights about his or her music in a meaningful and inspiring manner. I am optimistic that an identifi able, The American Choral Directors Association says THANK YOU to cohesive American school of choral composition is beginning to emerge from the energized choral culture that is being fostered. Through collaboration with outstanding university programs, ACDA and other such organizations have the potential to bring about the formation of a strong and inclusive for contributing copies of the concert recordings from the American school of choral composi- 2014 Southwestern Division Conference to the ACDA Archive tion that is grounded in the living art of choral music.
26 CHORAL JOURNAL Volume 55 Number 1 A REQUEST FOR ARTICLES The Choral Journal editorial staff is interested in receiving articles of interest to the choral profession. Examples of topics include but are not limited to the following:
• Choral Compositions, Composers, and Conductors • Choral Style and Performance Practice • Historical Periods of Choral Conducting • Pedagogy and Choral Conducting • Repertoire and Standards • Vocal Pedagogy and Choral Singing • Choral Rehearsal Techniques • Spin-off Articles of Doctoral Research • Trends and Issues in Choral Music • Article Versions of Conference Interest Sessions • Music in Worship
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28 CHORAL JOURNAL Volume 55 Number 1 Th is article was originally published in American Choral Review, now published by Chorus America. Reprinted by permission.1
robably no twentieth-century Ameri- can composer was more attuned to P the needs of, or met the desires and wishes of a choir than Randall Th ompson (1899-1984). So many of his choral works— Alleluia (1940); the cycle Frostiana (1959) to words of Robert Frost; Th e Lark in the Morn (1940); the Mass of the Holy Spirit (1956); Th e Peaceable Kingdom (1936); Th e Testament of Freedom (1943) for men’s voices—have be- come concert favorites, performed frequently and lovingly by choirs of all ages and abili- ties. An appealing, cantabile style permeates his writing, with beautifully craft ed, soaring lines in each voice part, all set to thought- provoking, often profound texts. In the lecture below, fi rst penned in 1959 and later revised in 1980 (those paragraphs [with an *]), Th ompson’s advice to young composers, his strong feelings about the choral art and its practice, and his ruminations on beauty and appropriateness combine to form a strong statement from this preeminent American choral composer. At the height of the Renaissance, Lorenzo de’ Medici wrote a wonderful poem which opens with these words:
Chi non è innamorato Esca da questo ballo.
It is easy in Italian, but a hard couplet to put into English. One might say it meant “Anybody not in love will now please quit the ballroom.” Or: “Let anyone who is not lovesick leave the dance fl oor.” Writing for the Amateur Chorus:
I quote this because, by analogy, if there is anyone here who is not in love with choral music, now is his chance to slip away. If he is not in love with choral singing, let him leave. I am a passionate devotee of choral music. I always have been. But as I set out to tell you what I think and feel about it, I must warn you: I’m on fi re about it; and if you don’t want to hear what a fanatic has to say on the subject, please go away.
* These opening remarks of an ad- dress delivered before a meeting of the Intercollegiate Music Council at Yale University in May, 1959, had a curious effect: though written with the best in- tent, they were frowned upon by some of my distinguished listeners who had doubtless not expected such a tone. The discrepancy of opinion showed that choral music and choral composition Randall Thompson teaches Leonard Bernstein and other students at the Curtis had arrived at a crossroads in America, Institute of Music, 1940. Bernstein is the third student from the left. and this phenomenon had arrested my Photo by William Rittase. Courtesy of Curtis Institute of Music Archives. particular interest.
The history of music has taken many at once more violent and more abrupt happened if Columbus had tried to turns. Sociological factors, political than those of any other art. Sometimes share with the Noble Savage the art of events, historical incidents, philosophical it took centuries to effect any change music of that day—the mysteries of vocal ideas have changed its course, condi- at all; sometimes change was effected counterpoint. He would have had a hard tioned its content, brought about its overnight. In the United States we have time, if my own experience in trying to popularity, enlarged its scope, deter- witnessed a mighty change—and a rela- teach the natives fi ve hundred years later mined its media, opened opera houses, tively quick one. What has happened in is any criterion. closed churches, closed opera houses, the last hundred years in this country is opened churches, silenced—then re- more rapid than ever happened in the Five hundred years is a long time. We leased—singers, forbidden the intrusion Middle Ages, the Renaissance, or the made very little progress for about four of folk music, then made folk-music [sic] Baroque. This, of course, has to do with hundred of those fi ve hundred years. a rock on which to build. the situation of a young country. But, as True, our early singing teachers gave Oscar Wilde said, “People have been us a modicum of musical literacy; true, * It is only today that the latter remark saying that for 300 years.” And of course there are fi ne documents of creative might be construed as a pun. But if so, they are perfectly right. strength in early American choral music; its truth holds: “Rock” has become one It is natural that we should not, from true, the Handel and Haydn Society was of the many new departures—one that the moment Columbus landed, have founded in 1815, only a few years after is characteristic of the constant regen- produced a “school” of musical compo- Haydn’s death. eration of music with which I was here sition. Columbus didn’t stay very long; he By and large, however, we built our concerned. didn’t come here to teach music. towns and our churches without any serious consideration of the music of The ups and downs of music—and * It is tempting to pause here and refl ect Tallis, Byrd, Weelkes, Wilbye, Purcell—or of the evolution of music—have been for a moment upon what would have of Monteverdi, Corelli, Vivaldi, Couperin,
30 CHORAL JOURNAL Volume 55 Number 1 A Chance and a Challenge
Rameau, Bach, or Handel. They lived and An immense offering of work and great cappella music. The fi rst is that no cho- died without this country paying any enthusiasm went into creating it. As a rus can really sing well with an orchestra, attention to them. Thomas Jefferson’s result, here is a new and truly vast outlet or even the piano or organ, until it can musical library extended from works for composers. sing well by itself without accompani- of Purcell’s father (also a composer) to Now, composers are very special. ment. The second is that if a chorus Weber’s Der Freischütz. But Jefferson They grumble about having no “market”; can sing well a cappella, a vast body of was an exceptionally cultivated man. It they grumble about being “unappreci- beautiful music is opened up to it. The would be unfair to expect many of his ated.” Granted, they may be unap- whole a cappella literature from Dun- compatriots to have had such breadth preciated. But not granted they have stable to Monteverdi and extending into of musical interest. Throughout the sev- no “market.” Nothing could be farther the nineteenth and twentieth centuries enteenth, eighteenth, and nineteenth from the truth: boys and girls, men is the chorus’s private domain. century [sic], the level of musical cultiva- and women all across the country and For a long time we did not realize this. tion was extremely low, with only one or around the world are ready and waiting, Much was done to bring great choral two exceptions and only two or three eager for new music to perform, fully as music to our attention, and it did a great torchbearers. eager for it as Esterházy prince ever was deal of good. Men’s colleges, taking the Our debt to those torchbearers can to have a new quartet! lead, sang many hitherto unheard mas- never be repaid—how they fought and In point of fact, the “outlet” for com- terpieces. But it was only a step in the how much of the expansion of music in posers, their “market,” is far larger than right direction, as those responsible for this country is due to them! I think of you and I could possibly estimate with it were the fi rst to say. Oscar Sonneck, of John Knowles Paine, any degree of accuracy. Great though it I would defend the sensitive “ar- of Frank Damrosch, whose Oratorio is, it will be much larger when capable rangement” of great choral music—the Society at the turn of the century sang leaders, desperately needed, move into transposition, the change of color and his editions of Lassus, Palestrina, Gabrieli. hitherto silent, inert, potentially musical, range. I would also defend the good I think of Thomas Whitney Surette and vocal communities and “unlock their arrangement of folk music—really, for of two outstanding leaders in twentieth- silent throats.” This will have to come centuries, a subdivision of choral com- century college choral music: Marshall to pass. There are many more choral position. Arrangements can be very Bartholomew and Archibald T. Davison. groups that want to sing well—and useful. But they have their limitations, I could hardly hope to portray the could sing well—than there are good and they can be carried too far. The struggle and the enlightened guidance choral conductors to lead them. And chief value of choral arrangements was, that has brought about the present the end is not in sight. and still is, that they enabled choruses totally new state of choral music and of men’s voices or of women’s voices through it, I believe, of all music in * Though written twenty years ago, this to enlarge their limited repertoires and America. The truth is that while many statement still holds true. The reason is thus broaden their experience through a serious composer has been working in large part the greatly raised general acquaintance with a great literature. As in seclusion—doubtless producing fi ne level of musical education: while a new coeducation has spread in this country, works—a whole new medium of ex- generation of choral conductors and the old-fashioned Männerchor organiza- pression has come into being: nobody while professional choruses have come tion and ladies’ singing societies have ever before had such a medium of com- into being, the demand for choral music become far less common and far less munication as composers have today in continues to grow. But a principal reason popular. the amateur chorus. is the quality of choral music itself. And In a way, this is a pity, for there is fi ne There are now an immense number this is a point that particularly occupied literature for men’s voices and for wom- of amateur choruses in this country— my mind at the time. en’s voices alone. It is to be hoped that college and civic choirs, glee clubs and this literature will never fall into disuse or madrigal groups extend across the face What do these people like to sing? neglect. The literature for mixed voices of this continent. They have high musical Not an antiquated, trite repertory. is infi nitely larger, and greater; and the ideals, high musical ambitions. They want They want to sing William Byrd, Bach, last hundred years or so have gradually to excel; excel in what they sing and in Beethoven, Berlioz, Brahms. Above all put within easy reach a vast literature the way they sing it. This is a very special they want to sing more a cappella music. of music for mixed voices—sacred and phenomenon of the twentieth century. Now there are two things about a secular—music of infi nite variety, music
CHORAL JOURNAL Volume 55 Number 1 31 Writing for the Amateur Chorus:
of ineluctable beauty. Whole sets of can become over-instrumental, the limitations and the capabilities musical monuments have appeared and even turgid, and in effect lose of his chosen medium. are still appearing: English, French, Flem- touch with the human spirit. Let ish, German, Spanish, Italian—chansons, me state at once that I consider, 3) Certain other reasons have worked madrigals, masses, motets. When I was in for example, Beethoven’s C-sharp against the development of choral college, I procured with some diffi culty a Minor Quartet one of the greatest literature in this country. Writing handful of Monteverdi’s madrigals. Now achievements in music or, for that for voices shows, for instance, this whole output is accessible to all. matter, in all art. It is, unimpeach- quicker than anything else (except More and more octavo editions appear ably, absolute music. But think how perhaps writing for the string annually; more and more choral conduc- much choral music Beethoven quartet) the shortcomings in a tors prepare their own working editions. had written before he wrote the composer’s technique; one reason Indeed, I sometimes wonder whether it C-sharp Minor Quartet. Yet an ab- why we have no “school” of choral is coeducation that is responsible for the solute doctrine of absolute music composers (such as existed, in increasing popularity of mixed choruses persists in our day. It does infi nite one period or another, in virtually or whether the beauty of the literature harm to choral music. every European country from the has brought more and more coeduca- fourteenth through the twentieth tional choruses into being, nourished * It may have been the matter of folk mu- century) may be that our young and sustained them. At any rate, this sic arrangements, mentioned a little ear- composers haven’t acquired suf- particular phenomenon—the prolifera- lier, from which the division of opinion fi cient technical equipment. (Of tion of mixed choruses—did not occur, between some members of the audience course one never has!) and could not have occurred, a hundred and myself took its point of departure. years ago. There would not have been But more likely it was this argument of Meanwhile, many a composer— anything to compare with the glory of a doctrine of absolute music. Though young and old—has a hard time earning the presently available literature, either there was obviously no such intention, enough to live on. In this I feel real sym- in quality or in extent. Is it too much to it might be applied to the orientation of pathy for them. But my sympathy gives say that the literature itself has been the some of my critics. out when they shake their fi sts at a cruel dominant creative and sustaining force world and say, “My art is not wanted; it is in the formation and fl ourishing of one 2) A second impediment to choral com- not appreciated; there is no place for the mixed chorus after another? position is the diffi culty of applying artist in contemporary civilization.” As Why, under these circumstances, contemporary compositional tech- with Caesar and Brutus, the fault is not with this unparalleled outlet within niques to writing for chorus. Modern in their stars but in themselves. The acts easy reach, why has there not sprung idioms—the insistence on dis- of humility that they must undergo to up in this country a bona fi de school sonance and super-chromaticism, enter “In diesen heil’gen Hallen” may be of choral composers? We hear about on fi tful and irregular rhythms; hard for them to submit to. But it would the “cultural explosion,” but no such the vogue for intensity and a be wonderful if they would and did. Let “school” has emerged. Of all the many pervading martellato style (so us consider what trials, what tests these possible reasons for this lack, I am going accented throughout that there young Taminos must undergo. to select a few and elaborate on each remains virtually no accentuation The fi rst thing that they should realize one of them briefl y. at all); the Romantic cultural lag is this: many of the greatest composers’ that characterizes many a new greatest works are choral, and they can 1) The tyranny of the Doctrine of Absolute work, a total absence of “inner all be sung by amateurs. What would be Music. This aesthetic fallacy has re- check”; a ranting in tone or an the good of writing a choral piece that tarded choral composition in this equally excessive quietism—all only professionals could sing? If a piece country more than any other sin- such stylistic traits do not lend is too diffi cult for amateurs to sing, the gle factor. It has even done harm themselves a priori to the medium chances are that it is not good enough. to the creation of absolute music, of the chorus. And as in writing It would be a terrible indictment of con- because an instrumental style for any medium, so in writing for temporary schools of composition if, in unleavened by the knowledge and chorus: it behooves the composer this respect, they were accused of failing experience of writing for voices to understand the characteristics, to do what their forebears did so well.
32 CHORAL JOURNAL Volume 55 Number 1 A Chance and a Challenge
* This is probably the hardest statement to maintain in my discussion now that another twenty years have passed. They have brought the developments of the modern professional chorus and of to- tally new choral idioms inspired by it. Perhaps the best comment I could offer is that these new idioms characterize the problem: they are predominantly developments of the Sprechstimme, of helpful in discovering texts. choral tribute (Felices Ter) to Dr. David- sounds that the human voice can pro- son on his seventieth birthday; the text duce besides singing. The best way to Having found your text, commit it to restate my point might be: the farther we memory. Sing it to yourself in a thousand was an inscription on a gate leading into move from the natural limitations of the different ways. Decide on the best, the Harvard Yard. human voice, the farther we move from most fi tting melody for it. Don’t worry Don’t worry about so-called ugly the nature-given laws of music. about progressions; let the tune and sounds in a text: diffi cult vowels or the words determine the form. Let the clusters of consonants, e.g., “make his music follow the rhetoric of your texts. paths straight.” A good conductor will Writing for voices has been a pas- Don’t set a question in the text with a overcome any such diffi culty. Just as sionate, life interest of mine. I warned full cadence in the tonic. Don’t place there is, in the absolute sense, no “ugly” you at the start: I am fanatical on the subordinate clauses in the very heart color, no “ugly” chord, so there is, in the subject. Would it be decent for me to of the central tonality. Above all, place absolute sense, no “ugly” combination of give you a feather or two out of my the voices where they will sound. Avoid vowels or consonants. own cap? inappropriate chromaticism. Avoid ex- Don’t believe for a moment that, Above all, choose a good text and treme ranges. Avoid unnecessary divisi to be good, the musical setting must not too long of a text. Don’t choose a in the individual parts. And fi nally sing follow slavishly the natural declamation mawkish, sentimental, obscure, problem- the individual parts to yourself. If you can of the words. Naturally, one does not atic, eccentric text or any text capable sing them, it doesn’t necessarily mean miscalculate words or syllables, except of appealing only to a few. Choose a that they are good; but if you can’t sing for very special effects; and naturally text of some universality, whether seri- them, there’s something wrong, and you one does not stress unimportant words, ous or comic, sacred or secular. And in had better do some serious re-touching. especially prepositions. But neither does choosing it, remember that (as Samuel I have found it useful not only to one have to follow the exact rhythm of Johnson said of the ideal prose) you search carefully for texts, but also to the spoken word. Plainsong, noted for its want something “familiar but not coarse, keep a fi le of poems or prose that might natural declamation, is not always faith- elegant but not ostentatious.” There is some day come in handy. My “fi le” has ful to the normal accentuation of the sometimes a real difference between stood me in good stead. Years before I text. But whether or not it is basically what is popular and what is great; but set it to music, I happened on the text of declamatory, it is supremely beautiful there is no difference at all between “The Last Words of David” in a Gideon monophony. It has been said that Pal- what is great and what is widely popular Bible in a hotel room. When subse- estrina is a kind of polyphonic plainsong. over a long period of time. quently Koussevitsky asked me —at the This simply is not so. Figure 1 shows a A few suggestions in connection with point of a gun—to write a short piece Palestrina phrase, a setting (chosen at your choice of text: for a documentary fi lm on Tanglewood, random) of the word “Benedictus.” Read and re-read all the poetry you I had the text in hand—and the gun The beauty of the line makes us think can—try to become a connoisseur of never went off. nothing at all of the incongruity of the poetry. Do the same thing with prose. The fi rst lines—the ones that set duration of the “i” in “Benedictus.” But There is probably no richer source of my mind to work—for a more recent to return to our point, it is the syllable beautiful, universal and poetic texts for large work written for a double chorus with the tonic accent that receives the choral settings than the Bible. A Concor- I happened to see on the front page of melisma. This is good, though it cannot dance of the Bible can be enormously the London Times. In 1953 I wrote a little be made into a rule. Both plainsong and
CHORAL JOURNAL Volume 55 Number 1 33 Writing for the Amateur Chorus:
the polyphony of the Palestrina style Some strange prosody crops up may do it for you—or he may not. We place melismas on unaccented syllables. in the stanzas of our hymns. On the sing “ligh-tning,” but it must be printed The most conspicuous example of this other hand, consider the strophic ayres “light-ning” (a very common type of er- practice is the traditional jubilus at the of Dowland or Ford, or the strophic ror even in published music). end of the word “alleluja.” But it works choruses of Mendelssohn or Brahms. My last suggestion: I want to empha- better with the fi nal a than with most In “Marias Kirchgang” from the Marien- size the great importance of learning to fi nal unaccented syllables in English. lieder, Brahms used the same music for write well for unaccompanied chorus We do not like to sing “beautifu-u-u-l.” fi ve or six stanzas; for one other he before trying to write accompanied Above all, no one likes to sing a melisma wrote special music, not because the works. Just as a chorus that cannot sing on the infl ected fi nal syllable of a verb, prosody required it, but in order to sug- well a cappella cannot sing well with e.g., “gazi-i-ing.” This obscures the beauty gest the church bells that, according to piano or orchestra, so a composer who and meaning of the word an accentuates the legend, rang out miraculously. cannot write well for a cappella chorus instead the participial ending common The best rule remains: sing the words cannot hope to write really well for ac- to all verbs in the English language! No to yourself. If the melody brings out the companied chorus. aspect of choral composition is harder feeling of the text and the signifi cance to teach or to be specifi c about than of the important words and of the * In re-reading this passage, I am struck choral prosody. There are virtually no important syllables, then the prosody by the realization that more than three hard-and-fast rules. The best way to is good—then the musical rhythm and hundred years ago Heinrich Schütz gave acquire an instinctive feeling for it is to the rhythm of the poetry or prose are similar advice to the young composer of read poetry well and thoughtfully and, blended to create the rhythmic ebb and the day (preface for the Geistliche Chor- above all, to read it aloud. That is why fl ow of the choral parts. musik, 1649). He called on the prin- it is a good idea to commit one’s text Some fi nal technical observations: ciples of the Renaissance to stem the tide to memory before starting to set it to In many contemporary works the of the Baroque. But such “Rebirth” will music. time-signature changes every bar or go through the ages as long as there are I have dwelt at some length on this so. This particular mannerism works new generations of young composers. point because composers are apt to be rather badly with voices, especially with over-timid about “texting,” or fi nicky, or unaccompanied voices. Rather than dif- What, we might ask in the end, are careless. Ideally the music seems to grow ferentiating rhythm, it distorts rhythm, the immediate advantages, what are the out of the words. Certainly it must not and undistorted rhythm, whether slow rewards of writing for chorus, men’s, be sacrifi ced to them. Music was never or fast, is the singer’s most important women’s, mixed? sacrifi ced to the words in Schubert’s aid. Of course, occasional changes of To cite perhaps the most direct ad- songs. How simple the problem can be meter are unavoidable. But constant or vantage fi rst: choral compositions can be is shown best of all in a traditional bal- capricious changes (that perhaps just a an asset to a composer. At the beginning lad. There the same music takes care of fermata or an accent would render su- of his career, his orchestral works are perhaps thirty verses or more. perfl uous) make singers uncomfortable. often liabilities to him under our present The attacks become shaky; pitch suffers. musical economy. On the other hand, a Meanwhile, perhaps the whole passage good list of well-written choral works could have been written in 4/4 time in with good texts can supplement his an- the fi rst place. nual income and perhaps enable him to Repetition of words can be rhetori- keep on writing. cally highly effective: “Gloria! Gloria! Glo- But far more important will remain ria!” or “Gone! Gone! Gone!” But “Full the purifying and refi ning effect that many a glorious morning have I seen, writing for chorus will have on his musi- I seen” doesn’t make sense to either cal style, both choral and instrumental. singers or listeners. Words in any given The individual parts of a choral piece line should never become meaningless must have character and interest if the fragments. singers are to be moved in any way by Be sure to check your syllabifi cation it; if they are not moved, they will not by consulting a dictionary. Your editor perform it well, their hearers will be apa-
34 CHORAL JOURNAL Volume 55 Number 1 A Chance and a Challenge
thetic, and the piece a failure. In order to hears that one’s work has been sung by adjudge me a not wholly unworthy priest succeed, a choral composer has to make high-school students or by the choir of of that sacred art. On this score you ap- his emotional intent crystal clear. A kind a little church in Kentucky, or by a naval pear to quiet me, so far as your country of fundamental simplicity is blessedly college in Japan, a group of students in is concerned; what is more, you give imposed upon him. But this should not Korea, or a kind of “Madrigal Society” in me the welcome assurance—and this make him feel constricted or thrown Bombay. Those are things that make one is the greatest comfort of my declining into chains. Fundamental simplicity is realize what writing music really means years—that I am the source from which you, and many other families receptive to heartfelt emotion, derive pleasure and satisfaction in the quiet of your homes. How soothing this refection is to me! No aspect of choral composition is harder to teach or to be Often, as I struggled with obstacles of specifi c about than choral prosody. There are virtually no hard- all kinds opposed to my works—often, as my physical and mental powers sank, and-fast rules. The best way to acquire an instinctive feeling for and I had diffi culty in keeping to my chosen course—an inner voice whis- it is to read poetry well and thoughtfully and, above all, to read pered to me: “There are so few happy and contented men here below—on it aloud. every hand care and sorrow pursue them—perhaps your work may some day be a source from which men laden with anxieties and burdened with affairs one of the outstanding characteristics and what responsibility it carries with it; may derive a few moments of rest and of good music, of good art. To learn to those are the things that make fi nancial refi nement.” This, then, was a power- be simple never did any artist any harm. profi t seem a very minor consideration; ful motive to persevere, this the reason True, the line between simplicity and those are the things that lift up one’s why I can even now look back with banality is often the only thread. That heart, that give one the courage to go profound satisfaction on what I have pitfall obviously has to be avoided. But on, the incentive to try and make it bet- accomplished in my art through uninter- a composer who cannot do a simple ter the next time. rupted effort and application over a long thing well cannot be relied upon to do Haydn summed the whole matter succession of years.2 a complex thing well. Writing for voices up when he heard that The Creation may refi ne a potentially turgid style. had been performed on a small island What gives me the greatest joy and in the Baltic Sea. From the little town of NOTES the deepest inner satisfaction, and what Bergen, capital of the island of Rügen in I regard as the highest reward of all, is the Baltic, a society of amateurs wrote 1 Randall Thompson, “Writing for the Amateur to know that the choral music I write is to thank him for the pleasure that Choir,” American Choral Review 22, no. 2 sung by boys and girls, men and women performing his Creation had given its (1980), 9–19. More information available who are amateurs—and it is well to membership. Hayden replied: at
CHORAL JOURNAL Volume 55 Number 1 35 Courtesy of San Francisco Conservatory of Music (1935-2013) Conrad Susa onrad Susa, who died on November 21, COMPOSER 2013, is well known to American choral C conductors for his Carols and Lullabies TEACHER and other Christmas music. His death can now put into perspective his large choral catalogue, much of which deserves to be better known. A FRIEND complete list of Susa’s works has been provided by his exclusive publisher, E. C. Schirmer Music Company, a division of ECS Publishing. A Susa memorial concert was presented by the San Francisco Conservatory of Music at St. Mark’s Lutheran Church in San Francisco on April 5, 2014. After introductory remarks by Conservatory Compiled by David Conte President David Stull and Conrad Susa’s brother with Byron Adams, Elinor Armer, Dennis, three of his choral pieces from the 1960s Philip Brunelle,Vance George, were performed: “Red Rosy Bush,” “Pretty Polly,” and Vince Peterson and “Shenandoah.” These pieces were written while Susa was a Ford Foundation composer-in- residence for the city of Nashville. Also performed were his second of three books of madrigals on the poetry of James Joyce, “Six Joyce Songs,” com- posed in 1984. “Consider the Wonderful Musician” from his fi rst opera, Transformations, opened the concert.
CHORAL JOURNAL Volume 55 Number 1 37 (1935-2013)
What Conradfollows below are fi ve eulogies Susa looking for a composer to set Anne given by musical friends at this memorial Sexton’s autobiography, Transforma- concert—Vance George, Conductor tions, and I mentioned Conrad. He just Emertis of the San Francisco Symphony seemed like the right person for this Chorus; Vince Peterson, Conductor of extraordinary book. We met him in Choral Chameleon and a student of New York City; he read her book, and Susa’s from 1999 to 2003; Elinor Armer the rest is history—an amazing opera and David Conte, Professors of Com- that captured the spirit of Sexton by position and Susa’s colleagues at the San setting each of the Grimm’s fairy tales Francisco Conservatory of Music; and (with Sexton acting as an interlocutor) Byron Adams, Composer, Musicologist, using the rhythm of a dance from the and Professor of Music at the University Conrad Susa. forties; that decade turned out to be of California, Riverside, and the author of Photo by Rory MacNamara her favorite musical period, something Susa’s entry in the New Grove Diction- Conrad sensed and captured. Conrad ary of Music. To these fi ve eulogies is sixties mentioning his anthem “David’s always had a keen sense of character added a sixth written by Philip Brunelle, Kingly City,” which had received an delineation, which gave his music such Music Director at Plymouth Congrega- award from the American Guild of Or- richness, whether defi ning a character tional Church, Minneapolis, and artistic ganists. Being the curious person I am, or elucidating a poem. Opening night of director and founder, VocalEssence. I immediately ordered a copy and was Transformations was magical with Anne delighted with the music and with the Sexton telling Conrad he had captured idea that someone would compose an her spirit exactly, and she hoped the PPHILIPHILIP BRUNELLEBRUNELLE anthem half in English and half in Latin! opera would play forever! Several years later, now as music In the years that followed, as I was I fi rst heard the name Conrad Susa director of Minnesota Opera (then the now organist-choirmaster at Plymouth in an article in the Diapason in the late Center Opera Company), we were Congregational Church in Minneapolis, I had the opportunity to introduce many of Conrad’s anthems to the choir and the congregation and also premiere a number of works. On many occasions, The internationally renowned version Conrad was there to offer charming for soprano, mixed choir and big band advice as to what he was trying to say through his music and helping us all get Sacred Concert inside the meaning of the words and the Duke Ellington’s three Sacred Concerts thrust of his music. I will never forget his arranged by danish John Høybye and passionate setting of “Even-Song” or the Peder Pedersen to a useful version with exuberance of “The Shepherds Sing.” Duke emphasis on the choir’s part. When I asked him for an Easter anthem, Ellington Soprano, mixed choir, big band: he composed “God Is Alive, Magic Is 2asax, 2tsax, 2barsax, 4tpt, 4tbn, Afoot,” for which he had not obtained Sacred pf, gtr/egtr, db/ebass, dr Concert permission to use the words. It remains Score WC1600246 in the Plymouth Church library unper- WC CHORAL SCORE Choral score 1600243 formed, but some day it will be heard. WC Instrumental parts (pack) 1600248 I called him one day in the nineties Recording CLASSCD 142 and told him that he was the composer Margareta Jalkeus, lead vocal, The Tritonus Arranged for soprano solo, mixed choir and big band by Choir and Peder Pedersen’s Big Band destined to write a companion to Brit- John Høybye & Peder Pedersen ten’s A Ceremony of Carols—but one for mixed voices and harp. He surprised me Further information: [email protected] see our web site! www.gehrmans.se completely when he not only agreed to think about it but wrote a fantastic
38 CHORAL JOURNAL Volume 55 Number 1 COMPOSER • TEACHER • FRIEND
piece ahead of schedule (something me rethink tonality; but more accurately, his comment. Then we would laugh and unheard of for Conrad). The result was both Conrad and David Conte brought know it was okay, and both of us would his charming suite of Mexican carols for me back to tonality. In 1983, I came to be happy and grateful. choir, harp, guitar, and marimba: “Carols San Francisco with everything from That is not to say all was smooth and Lullabies.” Schoenberg to Lutosławski to Scandi- between Conrad and myself. He could Our paths continued to cross in navian aleatory to vocal improvisation in be difficult and downright grumpy many anthems at Plymouth Church; with my ears. That same year I also encoun- when it came to tempi or something he operas at Minnesota Opera; with an op- era for the American Guild of Organists, The Wise Women; and with recordings of his music. Every time I was with him What was unique about Conrad’s compositional I was exposed to his sheer brilliance voice was his ability to make words come and wit. He was never dazzled by the quality of his own work. He knew that a alive, whether individually in a choral text or in composer’s work was never done, which accounted for his never-ending desire revealing a person on stage. to rework a piece just fi nished or one completed twenty years ago. —Philip Brunelle Conrad had a solid idea of what choral music was all about; it was not necessarily easy, but what he composed always worked. He also had a great tered minimalism for the fi rst time while wanted that he was not hearing. Over sense for fi nding texts and giving them recording John Adams’s Harmonium. Sty- time you forget differences. We quickly his compositional fl air. Conrad reveled listically from the 1950s to the 1960s, it became friends with a deep respect for in music for the stage, which gave him was anything goes, but meeting Conrad each other. Conrad paid me the great- the chance to be outside the box while and David helped me reassess and relax est compliment ever when he said: “You allowing him the opportunity to express back into tonality. create a sonority unique for each work character emotion in a compelling way. Perhaps Conrad’s place in history you perform, and your understanding of What was unique about Conrad’s has yet to be written, but our most vocal colors is unsurpassed.” Those were compositional voice was his ability to successful collaborations were in our welcome but humbling words from a make words come alive, whether indi- annual Christmas concerts in the 1990s. great composer and friend. vidually in a choral text or in revealing a We commissioned Conrad to write ar- person on stage. Conrad brought all his rangements of Carols and Lullabies and experiences into his music, and we are Christmas Garland. Both were popular VVINCEINCE PETERSPETERSOONN the richer for it. with audiences and fun to sing. Conrad really understood the human voice Conrad Susa saved me from the jaws and how to write for it. On the other of a terrible experience that befell me in VVANCEANCE GEORGEGEORGE hand, his instrumental parts were more the earliest part of my collegiate studies. diffi cult although perhaps even more After entering another conservatory in As conductor of the San Francisco interesting. His Serenade for chorus, fl ute, the fall of 1999 and spending a single Symphony Chorus, I recorded two of and harp on texts by Longfellow were semester there, I was prepared to give Conrad Susa’s choral works: The Mid- wonderful to delve into and try to fi nd up music as my professional path and night Clear, a commission, which may the essence of his heart and create the pursue another career. I had no sense be heard on “Christmas By the Bay”; magic moment of his truth. of my musical self. All of it had been and Winds of May, which may be heard Conrad’s wit was always playfully abruptly taken from me. I was told by my on “Voices 1900–2000.” Both were re- present and at times generously sar- fi rst college music teachers that I would corded for the Delos label and received donic. After a performance, he might “never go anywhere as a musician” and Grammy nominations. say, “So that’s how that goes,” which that I should “fi nd another career path.” In a very real sense, Conrad helped made a conductor wonder how to take I believed them.
CHORAL JOURNAL Volume 55 Number 1 39 (1935-2013) Conrad Susa At the time I entered the San Fran- every musical idea that came into my before I worked up enough courage to cisco Conservatory, I did not know of mind. It felt odd to do this, but I disci- say: “Maestro (that’s what I sometimes Conrad or his music. I remember my plined myself and did whatever he told called him), I thought you said you fi rst Conrad encounter quite well. I had me to do as best as I could. He once wanted to do an orchestration lesson just registered for classes. I had exited said, “I have to be careful what I tell you with me today.” To which he replied, “We the building and was sitting in my car in to do.” I asked why. He replied, “Because are. Now how much saffron did you put the back parking lot at 19th and Ortega you listen.” in that rice? Did you make sure to salt when my cell phone rang. It was Conrad. Following is a story that perfectly and pepper the meat? What does that I was so confused by my experience describes how he chose to teach me, sauce need, fl avor-wise?” at the school where I began my studies. but fi rst some context is needed. Con- Before I knew it, the score of Brahms I transferred to the San Francisco Con- rad loved to cook, and he was good at 3 was laid out on the chopping block there in his kitchen, and Conrad sys- tematically and categorically equated many of the fl avors and ingredients we When you listened to Conrad lecture about the had cooked with to instruments of the orchestra, sections, texture, and color. It great composers and their craft, you heard him was the only orchestration lesson I ever speak about them as though he’d just been on needed. Along with that delicious meal on the stove, my mind simmered with the phone with them yesterday. vivid musical images. Conrad’s classroom approach to this topic was never without interest- — Vince Peterson ing twists and turns. I recall specifi cally being asked once to arrange a Bach organ fugue for all nonpitched percus- sion instruments. He would always say servatory midyear, which was ironic and it. He became a different person in the that the real teachers of that class were embarrassing since San Francisco is my grocery store. He would go in “for a few Mahler, Ravel, Rimsky, Tchaikovsky, Bloch, hometown, and not six months prior, I things” and come out with a selection Shostakovich, and so on. Not he, himself. had waved a public goodbye to all of of the most obscure, gourmet prod- When you listened to Conrad lec- my friends and family. When I would ar- ucts I had ever seen. I once witnessed ture about the great composers and rive at my weekly lessons with Conrad, him dance an impromptu ballet in the their craft, you heard him speak about I would place my sketches on the piano produce section of Andronico’s Market them as though he’d just been on the rather hesitantly and with trembling after fi nding the perfect piece of fruit. He phone with them yesterday. You often hands. He would grab the pages with an passed it from one hand to the other felt like you were getting to know them eye roll and say: “Good god, child, what over his head with a gleeful tendu while not only as composers but as people. did they do to you there?” He learned simultaneously smiling and humming a He had a particular proclivity for mak- who I was rather quickly. Tchaikovsky-like melody. ing various character voices to imitate His approach to teaching me was ho- One Saturday, he told me to come composers, their cohorts, and students listic and metaphorical. This was exactly over to his house so that we could have in a rather comic way. what I needed, because I had never been an orchestration lesson. The fi rst thing On a more serious note, it was a book learner. He sensed this about me he asked me to do was drive him to the Conrad’s Shenandoah from the Two Sea immediately and took his pedagogical grocery store. After at least two hours Chanties that made me want to be a stance accordingly for the next three there and back, we returned home and choral musician in the fi rst place. Con- and a half years. began to cook. It was some sort of rad sat me down in his living room at The fi rst composition assignment he pâté, a chicken dish cooked in a sauce the big dining table, placed the score on ever gave me was to keep a journal and of oranges, a rice dish with saffron, and the table in front of me, and played the write down a quick, messy sketch of several other things. A few hours passed recording. He managed, in a few short
40 CHORAL JOURNAL Volume 55 Number 1 COMPOSER • TEACHER • FRIEND
minutes, to capture the widest range important lens with which to view itself. The only glimpses of it I feel I ever truly of human emotions in a single musical It’s hard to put into words the impact had were experienced through hearing gesture: introspection, joy, pleading, se- that Conrad had on my life. It started his music. He made no apologies for renity, exhaustion, and more. According with a wounded musician answering this and no allowances for any outside to him, this piece was the “fi rst music of the phone one day, and it became an forces that he felt may have threatened his career,” and he thought long and hard unexpected and joyfully musical and his ability to remain there always. about what that would be. personal friendship that knew no limi- There is no doubt in my mind that he It was written for a high school choir tations or harsh realities of real life. To is eternally there now, with absolutely no in Tennessee where he arrived on a Ford say that the fi re of his imagination was worry of ever having to step outside of Foundation Fellowship as composer- always brightly burning is an understate- it again. Knowing this comforts me, and in-residence for the school district. He ment. Conrad lived beside all of us in a knowing him has made me the most won this fellowship immediately after his simultaneously existent other world, full imaginative person I can be—always graduation from Juilliard, and he thought of the sprightly, the fanciful, the mystical, striving to go deeper into myself and of it as his fi rst job as a professional and the profoundly serene. He fought push the comfort boundaries further composer. He often talked about how daily for his right to always remain there. and further. This is his gift to me and he decided after leaving Juilliard that he wanted his music to be functional, accessible, and useful to people rather than intellectual, avant-garde, or aca- demic in nature. In a video interview he prepared for us at Choral Chameleon, 2015 Dallas Church Music Workshop he remarked that he knew the types of musical constructions he had been January 16-17, 2015 made to study and create for the dura- Lovers Lane United Methodist Church, Dallas, Texas tion of his graduate studies would not fi t the bill for what he actually wanted his Robert Edwin own music to accomplish in the world. In Adult Choirs a profound way, I could say that Shenan- Tom Trenney doah was the fi rst piece of my choral music career as well. When I hear it, I Organ and Adult Choirs imagine Conrad himself at the bank of Jason Krug a river, staring into a never-ending river Handbells corridor with knowing eyes. Kimberly Bracken Long Conrad and I were not without our disagreements, however. I remember Worship one lesson during which I worked up Janeal Krehbiel enough nerve to tell him that I would Children’s Choirs “mull his suggested changes over” in- stead of simply conceding and putting Ellen Cavendish Phillips them into the score at that minute. Liturgical Arts in Worship After a glare that I shall never forget, he Derrick Brookins abruptly grabbed the pencil out of my Youth Choirs hand and exclaimed, “Well, while you mull, I’ll turn it into a piece of music,” And More! and he proceeded to write the changes For classes, schedules, bios and registration visit: into my score. There isn’t a day that goes by when I DallasChapterCG.com don’t think of Conrad. The world lost an
CHORAL JOURNAL Volume 55 Number 1 41 (1935-2013) numerous Conradothers fortunate enough to Susa have worked with him. On his seventy-fi fth birthday, he remarked that “a seventy-fi ve-year-old boy couldn’t get a better present for his birthday than for the chorus of his students and friends to sing his Hymns for the Amusement of Children.” When I played the recording of our perfor- mance of this work for him in his living room that next summer, he paused briefl y at the end of it, looked at me with pursed lips, then said, “So that’s how that goes!” The third movement of that piece, which is a setting of texts by the great Christopher Smart—a poet beloved Conrad Susa conducting Let us Now Praise Famous Men at the by Conrad—offers us what I believe ACDA National Symposium on American Choral Music in 2012. is a perfect comfort in the wake of his passing. I can think of no better words to explain how Conrad himself viewed life also added the word friend. Because of I thought to myself, ‘I am an American and death, and perhaps how he would Conrad’s passing, and because we were composer. I don’t have to worry want us to proceed now: “Bash on!” friends, I had the task at once joyful and about whether I do anything correctly. sad of helping to edit the transcript of Whatever will come out will be mine.’” Conrad’s interview for the San Francisco A raven once an acorn took Conservatory’s Oral History Project “I’ve come to see that what you have to from Baashan’s tallest, stoutest tree. (which may now be heard in his own do is write quickly, without fear.” He hid it by a limpid brook voice on the Conservatory’s website). Following are some of the things he said and lived another oak to see. in his interview on the subjects of com- “I wanted my music to be used, not admired. I wanted to provide people Thus, melancholy buries hope posing, teaching, and friendship. You will fi nd them (like Conrad) obtuse, perhaps with music they would like to sing. I did which providence keeps still alive, baffl ing, some challenging, some mystical, not crave fame.” and bids us with affl ictions cope, some moving, and all thought-provoking. On teaching: and all anxiety survive. On being a composer: “Teaching teaches one about being — Against Despair human and about the price of mortality. (Christopher Smart, 1771) “You have to have transformative It’s a lesson I’m still learning, of course. experiences. You can’t come out of the Because it’s always different from the safety of what you know, you have to way one grew up, and what was learned encounter what you don’t know, and it then isn’t always relevant. One has to EELINORLINOR ARMERARMER will teach you something.” learn new things. And you have to keep some kind of morality in it, some kind The obituary headline in the New of justice or rightness or something, so York Times called Conrad Susa a com- “The American land grabs you like a you’re not just constantly caving in to poser and a teacher. I’m glad the lat- lover. It’s very strong, it’s very intense, what’s fashionable.” ter was used, because it was at the binding—to the earth and to the smells Conservatory that his gifts as a teacher of nature. It’s like a sudden mystical emerged and bloomed. I would have union that you have, with everything. “Politicians and leaders always want to
42 CHORAL JOURNAL Volume 55 Number 1 COMPOSER • TEACHER • FRIEND
cisco; you must get to know Conrad.” I didn’t yet know Conrad or his work. I wanted my music to be used, not admired. A few months after that, I was at the I wanted to provide people with music they GALA choral convention in Minneapolis and heard Conrad’s marvelous choral would like to sing. I did not crave fame. cycle on the poetry of Garcia Lorca, “The Cricket Sings,” performed by the Seattle Men’s Chorus. The piece, quite — Conrad Susa simply, knocked me out, especially the last song, “From House to House,” which featured the entire men’s chorus clap- ping and stamping in addition to singing. be relevant and if possible anticipate always treasure: “We’ve always been The energy of this music and the dem- the future. I think, what about being very truthful with one another, so we onstration of pure joy and youthful vigor in the present? What about pride of enjoy our friendship. It extends beyond on the part of the singers in rendering achievement? The Conservatory is a the class.” To which I reply that it extends this piece thrilled me. remarkable school. It has brilliant people beyond death. Conrad taught me that As I’ve often done, and still do when teaching, and it’s turned out brilliant anything we do truthfully—composing, I admire someone, I wrote Conrad a fan students who are unhappy with one teaching, loving—comes from a time letter. He never answered it, but several thing or another, just as you’re supposed before our birth, extends far beyond our months after that, a French conductor to be. And one hopes they grow up death, and gives purpose and meaning to and close friend of Conrad from his and look back and say, ‘I was taught to our brief lives in between. He also said, New York days, Jean Pierre Marty, came be unhappy so that I improve myself.’” “Nothing is truly lost once it is known.” to San Francisco to stay with Conrad. As much as I mourn my dear friend’s Jean Pierre had just assumed leadership “Nothing is truly lost once it is known. departure, I know he is not lost to those of Fontainebleau, a summer program We have a responsibility to preserve who have known him or to those who in France where I had studied, and was the past, because it’s present, and it can hear and play and sing his music. traveling the country to speak with points to the future. The future and A man for whom, as for Shakespeare, alumni of the school. He said to Conrad, past are what the present is. The only all life, all history, and every day was “I need to meet with this David Conte. way you can be of the future is to be theater—our composer, our teacher, Do you know him?” Conrad said, “No, of the present. One is always thinking our friend. but I received a fan letter from him a ahead, one is always thinking behind. few months ago. Let’s call him up.” So And that’s now.” on Sunday, October 5, 1986, Conrad DDAVIDAVID CONTECONTE and I had lunch for what was to be the fi rst of hundreds of meals and conversa- As for friendship, all of us who en- I was very lucky to share so much tions shared together in our friendship joyed Conrad’s have many enchanting of my life with Conrad. Our meeting of nearly thirty years. and sustaining memories—variations on was both serendipitous and fateful. In I describe the circumstances of our a theme—of thoughts and insights that 1986, after my fi rst year of teaching at meeting in such detail to illuminate needed to be shared, feelings that need- the San Francisco Conservatory, I was two things: First, that the community of ed to be expressed, stories that needed commissioned to compose a piece musicians is so very small and wonder- to be told, perceptions that needed to for the retirement of my high school fully interconnected; second, that even be challenged, advice that needed to be choir director and mentor, Neil Davis, though Conrad and I are a generation asked for and given. Our friendship was in Lakewood, Ohio. I traveled to Ohio apart, in many ways we had more in a playful dance of sympathy, respect, fas- to conduct the premiere, where I met common than perhaps people of my cination, joie de vivre, and deep affection his successor, Gilbert Jackson, who had age have with the generations following. that needed to be danced. just completed a doctoral dissertation Wave after wave of social and techno- In his oral history interview, Conrad on Conrad’s music. logical change wash over us now, and said of our relationship something I will Jackson told me, “You live in San Fran- the training and experience of musicians
CHORAL JOURNAL Volume 55 Number 1 43 (1935-2013)
has changedConrad profoundly. But Conrad and Susa Conservatory. His mastery of writing for I were both products of what I like to the voice, of writing lines for each choral call “the golden age of American public part in such a way that they participate school music education.” We frequently fully in the musical argument and at shared stories about our high school every point illuminate the experience music programs—mine in Lakewood, of the speaker of the text he is setting, Ohio; his in Springdale, Pennsylvania— have all rubbed off on each and every and how seminal they were in shaping student composer to come out of the our creative lives. Conservatory, as they have on me and Conrad was what one might call an on all of Conrad’s composer friends and “old-fashioned musician.” His musical those lucky to know his work. habits were formed through mastery of At a gathering we had at the Con- the piano from an early age. As a high servatory to remember Conrad soon school student, in addition to singing after his death, I was privileged to recite in the choir and playing oboe in the W. H. Auden’s poem in memory of the band, he made piano transcriptions of poet W. B. Yeats. I had long believed that his favorite pieces to learn from them, David Conte and Conrad Susa. Auden’s words described Conrad: as great composers throughout history Photo by Rory McNamara have always done. It is something that Courtesy of San Francisco “The death of the poet was kept Conservatory of Music composers rarely do today. Soon after from his poems; he became his admir- earning his undergraduate degree at ers… The death of the composer was Carnegie Mellon, Conrad served as story demonstrates his “old-fashioned” kept from his compositions; he became orchestral pianist with the Pittsburgh quality and his attitude about technology. his admirers.” Symphony. He often shared with me While teaching a graduate seminar how much he learned sitting in on all on Wagner’s Ring Cycle, Conrad dis- Conrad’s admirers now include all of those rehearsals and in playing the covered that the DVD player was not the singers and instrumentalists and ac- piano parts in pieces like “The Pines working. A student, trying to be helpful, tors who will continue to bring his music of Rome” and Stravinsky’s “Symphony said, “Professor Susa, we can play the to life, and all of us who love and cherish in Three Movements.” His whole life, DVD on my laptop.” To which Conrad his music. Long may he live. Conrad was studying and absorbing the replied, “The Ring on a laptop? That’s like music of others. When fi nishing a piece, the Last Supper on a card table!” In his he would often say to me something later years, Conrad suffered physically like: “It’s one of Schumann’s best pieces.” a great deal, but he rarely complained. BBYRONYRON ADAMSADAMS He was untroubled by how his music His humor was always present. After a I fi rst met Conrad Susa in the autumn might refl ect his infl uences. The strength new publicity photo was taken, upon of 1987 when I was invited to a dinner at and originality of his own voice always looking at it, he said, “I look like Angela his house on Eureka Street in San Fran- dominated. Lansbury’s grandmother.” Efforts are be- cisco. At that dinner was David Conte, Conrad joined the composition ing made to collect these gems. I imagine a colleague of Conrad’s at the Conser- faculty of the San Francisco Conserva- at some future time the publication of vatory and one of my closest friends tory in 1988. I had suggested to my a book titled The Wit and Wisdom of and colleagues from graduate school colleague Elinor Armer, then chair, that Conrad Susa, which rivals that of Oscar at Cornell University; and the gracious we hire Conrad to fi ll in for her during Wilde. and astute Vance George, whom I also her leave of absence. He quickly became Artists may or may not have children, met for the fi rst time around that table. indispensable, becoming chair himself, but in the words of Plato, they produce I was lucky enough to see Conrad’s and teaching his last class there only a “eternal progeny.” These progeny are house at night, which was an enchant- few days before his death. Those of us their musical works. They also aid in the ing experience: the house twinkled with close to Conrad have always relished creation of the works of others. Conrad strings of lights and seemed to glow in sharing humorous remarks he made was instrumental in his shrewd support from within. (During the daytime, it had about so many things. The following of our burgeoning choral program at the a more prosaic serenity that was not
44 CHORAL JOURNAL Volume 55 Number 1 COMPOSER • TEACHER • FRIEND
without quirkiness.) We dined at a large, “genius” is not too strong a word. ers, when it came to his own affairs plain, sturdy table in the center kitchen. After dinner, several guests, including Conrad’s otherworldliness was both The food and wine were superb; the myself, were invited upstairs to the mu- exasperating and touching. He cared conversation was lively, intelligent, and sic studio to hear a tape recording—a nothing for personal fame and did not chiefl y musical; and our host inquisitive, cassette tape, a technology now long seek it out—indeed, quite the reverse. witty, sarcastic, charming, and, as I felt superseded—of Conrad’s new Magni- In this, he provided a salutary contrast then, curiously otherworldly in that he fi cat and Nunc dimittis. I knew some of to those worldly composers, now so seemed to live in an enchanted realm his choral music and his extraordinary numerous, whose main talent is their of his own devising. At that time, Con- and original song cycle, Hymns for the ability to court easy notoriety. rad was lithe, graceful, and moved like Amusement of Children, which I deeply Conrad never had much money— a dancer who was also an alchemist. admired, but the sheer brilliance of this such money as came into his meager Dressed in black, his thinning blond Magnifi cat and Nunc dimittis took my coffers was soon spent, often given away. hair creating in the candlelight a nimbus breath away. In a fl ash, I knew that I was In short, he lived the life of an artist who around his expressive features, he was in the presence of a great composer. was completely and unselfi shly conse- at once elegant and heedless of his The choral writing was of an amazing crated to his art. At the heart of his char- own elegance. This fi rst impression was skill and radiance, but the outstanding acter was unself-conscious nobility that accurate as far as it went, but decades impressions that I took away from that radiated from deep within his psyche of friendship would reveal the extraor- fi rst hearing were the buoyancy and outward to the world, leaving those it dinary psychological insight, pitiless élan of the Magnifi cat and the searing touched—directly or through his music shrewdness, deep loyalty, and essential intensity of the Nunc dimittis. or both—profoundly enriched, encour- generosity of this quixotic genius—and Insightful about the careers of oth- aged, challenged, and enhanced.
CCOMPLETEOMPLETE LISTLIST OFOF WORKSWORKS BYBY CONRCONRAADD SUSASUSA ((ALLALL PUBLICATIONSPUBLICATIONS BYBY E.C.E.C. SCHIRMERSCHIRMER MUSICMUSIC COMPANY)COMPANY)
CCHORALHORAL WWORKSORKS SSATBATB A Christmas Garland (SATB, Audience/Congregation, Orchestra or Brass or Kbd), #4365 A Lullaby Carol (SATB, Piano), #2928 A Song to the Lamb (SATB, Organ), #4285 Baghdad-by-the-bay (Chorus, Soloists, Orchestra), #4219 Benediction (SATB/SATB, Handbells), #4574 Black River: Class Song (Soprano Solo, SATB, ), #3036 Carols and Lullabies (SATB, Harp, Guitar, Marimba), #4839 Children's Begging Song (SSA or TTB or SSATTB, [Women or Children], Percussion), #3028 David's Kingly City (SATB, Organ), #3089 Discovery and Praises (Soloists, SATB, Handbells, Flute, Harp, Percussion, Organ), #4176 Fum, Fum, Fum! (SATB, Piano), #4800 George Herbert Settings: Coloss:3.3. Our life is hid with Christ in God (SSAATBBB, ), #2949 George Herbert Settings: Even-Song (SATB, Organ), #2934
CHORAL JOURNAL Volume 55 Number 1 45 (1935-2013) Conrad Susa George Herbert Settings: The Knell (SATB, Organ), #4768 George Herbert Settings: Trinity Sunday (SATB, Organ), #2929 Hymns for the Amusement of Children (SATB, Piano Four-Hands), #3037 I Am the Way (SATB, Organ, Chamber Orchestra), #4220 I Dream a World (SATB, Handbells), #4675 Landscapes and Silly Songs: No. 1 Landscape I (SATB divisi, ), #7633 Landscapes and Silly Songs: No. 4 Landscape II (SATB divisi, ), #7636 Landscapes and Silly Songs: No. 5 Silly Song (SATB divisi, ), #7637 Let Us Now Praise Famous Men (SATB, Brass Ensemble, Organ, Percussion), #4218 Let Us Now Praise Famous Men (SATB, Chamber Ensemble/Brass Ensemble, Percussion, Organ), #7901 Let Us Now Praise Famous Men (SATB, Chamber Ensemble/Brass Ensemble, Percussion, Organ), #7899 Magnificat & Nunc Dimittis (SATB divisi, Organ), #4173 Serenade (SATB, Flute, Harp), #7009 Serenade: The Evening Star (SATB divisi, ), #7134 Sing to the Lord (SATB/SATB, Orchestra, Organ), #4217 Six Joyce Songs: Chamber Music (SATB, Piano), #2901 Six Joyce Songs: Vol. 2 (SATB, Piano), #4141 The Birds (SATB), #2778 The Chanticleer's Carol (SATB/SATB, Brass or Chamber Orchestra, or Organ & Trumpet), #4048 The God Of Love My Shepherd Is (SATB, Organ), #4046 The Midnight Clear (SATB soli, SATB), #4803 The Star-Spangled Banner (SATB, Opt. Brass Quartet [Three Trumpet, One Trombone]), #6560 The Wise Women: 11. Where is This Stupendous Stranger (SATB, Organ), #7690 Three Charms from Shakespeare (SATB, Trumpet, Piano), #4570 Three Charms from Shakespeare: Dirge (Cymbeline) (SATB, Trumpet), #4405 Three Charms from Shakespeare: Fairies' Lullaby (A Midsummer Night's Dream) (SATB, Piano), #4414 Three Charms from Shakespeare: Witches' Charm (Macbeth) (SATBB, Piano), #4404 Three Mystical Carols: Let Us Gather Hand in Hand (SATB), #2760 Three Mystical Carols: The Shepherds Sing (SATB), #2758 Three Mystical Carols: This Endrys Night (AT soli & SATB, ), #2759 Two Chanties: 1. Blood Red Roses: 2. Shenandoah (SATB), #3090 Two Marian Carols: Adam lay in bondage (SATB), #2776 Two Marian Carols: I Sing of a Maiden (SATB), #2777 Two Rock Carols: An Elegy Carol (Baritone Solo, SATB, Orchestra), #2933 Two Rock Carols: Man Is Born (SATB, Organ), #2932
46 CHORAL JOURNAL Volume 55 Number 1 COMPOSER • TEACHER • FRIEND
SSSASA - TWO-PARTTWO-PART VOICESVOICES - THREE-PARTTHREE-PART VOICESVOICES
Landscapes and Silly Songs: No. 2 The Gallant One (SSA), #7634 The Star-Spangled Banner (SSAB, opt. Brass), #6559 Carols and Lullabies (SSAA, Harp, Guitar & Marimba), #5064 Fum, Fum, Fum! (SSAA, Piano), #5065 Two Ballads: No. 1. Red Rosey Bush (Two-Part Treble Voices [Children], Piano), #2930 Two Ballads: No. 2. Pretty Polly (Two-Part Treble Voices [Children], Piano), #2931
TTTBBTBB
A Christmas Garland (TTBB, Audience/Congregation), #5066 A Winter Serenade (TTBB, Flute), #4732 Arise And Wake (A Carol for Christmas) (TTBB unaccompanied), #4109 Carols and Lullabies (TTBB, Harp, Guitar & Marimba), #4840 Cymbeline: Dirge (TTBB, Trumpet), #4690 Earth Song (TTBB, Piano, Soprano, Saxophone & Strings), #4486 Fum, Fum, Fum! (TTBB, Piano), #4801 Landscapes and Silly Songs: No. 3 The Kings of the Deck (TTBB unaccompanied), #7635 The Chanticleer's Carol (TTBB/TTBB), #4049 The Midnight Clear (TTBB/TTBB, Solo Piano), #4804
UNISON
Serenade No. 2 (Unison Treble Voices, Wind Ensemble), #2815B
LLARGEARGE CCHORALHORAL WWORKSORKS
A Christmas Garland (Brass/Percussion Version) (0– 0– 0– 0 2– 3– 3– 0 1– 2– 1– 1, Organ, SATB Chorus), Rental A Christmas Garland (Chamber Orchestra) (1– 1– 1– 1 2– 3– 1– 0 1– 2– 1– 1, Strings, Organ, SATB Chorus), Rental A Christmas Garland (Full Orchestra) (3– 3– 3– 3 4– 3– 3– 1 1– 2– 1– 1, Strings, SATB Chorus), Rental Arise and Wake (A Carol for Christmas) (0– 0– 0– 0 2– 3– 3– 1 1– 1– 0– 0, Flugelhorn, TTBB Chorus), Rental Chanticleer’s Carol (Brass Version, I) (0– 0– 0– 0 2– 3– 3– 0 0– 0– 0– 0, SATB/SATB Chorus), Rental
CHORAL JOURNAL Volume 55 Number 1 47 (1935-2013) Conrad Susa
Chanticleer’s Carol (Chamber Ensemble Vers. II) (0– 0– 0– 0 2– 1– 0– 0 1– 0– 1– 1, Dbl Bass, SATB/SATB), Rental Chanticleer’s Carol (Chamber Orchestra Vers. III) (1– 1– 0– 0 2– 1– 0– 0 1– 1– 1– 1, Strings, SATB/SATB), Rental Fantasy Tango for Organ, Brass & Percussion (0– 0– 0– 0 3– 3– 0– 0 0– 3– 0– 0, Solo Organ), Rental The Blue Hour (3– 3– 3– 3 4 – 3– 3– 0 0– 3– 1– 1, Strings), Rental Three Mystical Carols (3– 2– 3– 2 4– 3– 3– 1 1– 2– 1– 1, Strings, Alto and Tenor Soloists, SATB Chorus), Rental Two Marian Carols (1–1–1–1 1–1–1–0 0–0–1– 0, Strings, SATB Chorus), Rental
OOPERAPERA ANDAND VOCALVOCAL WORWORKKSS
Black River (Opera), #4206 Hymns for the Amusement of Children (Medium Voice, Piano or Harpsichord), #0152 Serenade No. 1 (Unison Baritones, 6 Flutes & Strings), #2319 Serenade No. 5 (Two Tenor soli, Oboe, Percussion & Cello), #2320 The Dangerous Liaisons (Opera in Three Acts), #4975 The Dangerous Liaisons (Libretto) (Opera in Two Acts), #4974 The Love of Don Perlimplin (Opera in One Act), #4148 The Love of Don Perlimplin (Libretto) (Opera in One Act), #7491 The Wise Women (Church Opera in One Act), #5059 Transformations (Opera), #0660
OORGANRGAN WORKWORKS
A Christmas Rhapsody (Organ), #6405 March for a Joyous Occasion (Organ), #4553 Recessional to a New Life (Organ), #5273 Serenade for a Christmas Night (Organ, Harp, Vibraphone), #0683 Canzona: The Peace Within (Organ), #1306
CCDD RRECORDINGSECORDINGS
Carols and Lullabies: Music for Christmas by Conrad Susa and Five American Carols, #CD130
48 CHORAL JOURNAL Volume 55 Number 1 Ronald A. Nelson 1927– 2014
Ronald (“Ronnie”) A. Nelson*—conductor, com- most well-known and widely sung work is his setting poser, church musician, and children’s choirs expert— of the liturgy for Holy Communion, which appeared as died on April 18, 2014, at the age of eighty-six. Setting 2 in Lutheran Book of Worship (1978) and Set- Nelson graduated from St. Olaf College (1949) ting 4 in Evangelical Lutheran Worship (2006). Nelson and earned a master’s degree in composition at the was a two-time recipient of the American Composer University of Wisconsin-Madison (1959). He taught Forum’s Faith Partners grant, and in 1999 was one of and conducted in Rockford, Illinois, for six years be- fi fty composers selected for Continental Harmony, a fore serving thirty-seven years as director of music at joint project of ACF and the National Endowment for Westwood Lutheran Church in suburban Minneapolis the Arts in celebration of the millennium. (1955–1992). There, Nelson built a choral program Notable among Nelson’s many honors were a Dis- that at its largest included hundreds of singers in nine tinguished Alumni Award from St. Olaf College (1967); choirs; regular performances of cantatas, passions, ora- the F. Melius Christiansen Lifetime Achievement Award torios, and musicals; summer music camps for children from Minnesota ACDA (1986); the Faithful Servant and youth; and a Saturday morning choir school that Award from the Association of Lutheran Church Musi- became a model for other choir schools and choir cians (2007); and the honorary title “Cantor Emeritus” school curricula. from Westwood Lutheran Church (2007). Over 175 of Nelson’s compositions for choir, Beyond his musical vocation, Nelson will be remem- congregation, and organ were published by fi fteen bered for his devotion to his wife, Betty Lou, and their American publishers and one Swedish publisher. His family, his church, and to issues of justice and peace.
* Ronald A. Nelson is not to be confused with composer Ron Nelson (b. 1929).
CHORAL JOURNAL Volume 55 Number 1 49 August 4, 1964 50 Years Later Elizabeth Swanson
Elizabeth Swanson Assistant Professor of Music Nyack College School of Music, Manhattan Campus New York, NY [email protected]
50 CHORAL JOURNAL Volume 55 Number 1 The summer of 2014 marks the fi ftieth anniversary of a tumultuous time in American history. On July 2, 1964, President Lyndon Baines Johnson signed the Civil Rights Act into law. Later in the summer of 1964, the United States became directly involved in the Vietnam War—a war that would rob the world of nearly four million lives. Pulitzer Prize-winning composer Steven Stucky (b. 1949) was commissioned to write a large work for mixed chorus and orchestra that would serve to refl ect on these events that intersected during President Johnson's tenure. The resulting work was August 4, 1964, which received its 2008 premiere by the Dallas Symphony Orchestra and Chorus in honor of the centennial of President Johnson's birth. Though not as iconic a day as those branded into American minds such as the JFK assassination or 9/11, August 4, 1964, is nevertheless a date that shaped our world and infl uenced a generation. Steven Stucky’s magnifi cent composition has immortalized the events of 1964 through the timeless power of libretto and song, and this article will shed light on this Elizabeth Swanson is Assistant Professor of Music historically compellingat Nyack choral College work School of Music, Manhattan Campus, New York, NY of the twenty-fi drstr.swansonncmc@ century.gmail.com August 4, 1964 • 50 Years Later
On August 4, 1964, the missing bod- outcome of those actions: the demise August 4, 1964 is scored for four so- ies of three young civil rights workers of fi fty-four thousand American soldiers loists (SATB), large chorus (SATB with were found brutally beaten and buried and 3.7 million Vietnamese military and divisi), and full orchestra. Because of in shallow graves just outside of Phila- civilian casualties. It is likely that gen- the forces needed to perform this work, delphia, Mississippi. In late June of that eral public awareness of the events that it would be ideal for a large university same summer, the disappearance of form the context of Stucky’s work has program or collaboration between en- these men—James Chaney, Andrew receded from our collective conscious- sembles. The soloists represent four Goodman, and Michael Schwerner— ness over the past fi ve decades. The fact important people: the soprano is Fan- had become known nationwide. Also on remains, however, that our world today nie Lee Chaney, the mother of James, August 4, 1964, US naval ships stationed was shaped and is still infl uenced by the the murdered black civil rights worker; in the Gulf of Tonkin in Southeast Asia events that took place during this era. the mezzo-soprano is Carolyn Good- claimed to have been targeted for a August 4, 1964 is a particularly signifi - man, the mother of Andrew, one of the second time by unidentifi ed attackers, cant work among Stucky’s compositions. murdered white civil rights workers; the presumably the North Vietnamese. It was his fi rst oratorio, the longest work tenor is Robert McNamara, the Secre- Because of the second alleged attack, he had written, and it employed the tary of Defense; and the baritone is LBJ. President Johnson ordered retaliation largest orchestral forces he had used The chorus in Stucky’s oratorio fre- on North Vietnam, which launched the up until that time.2 A leading force in quently assumes a function akin to that United States into full-blown involve- twentieth- and twenty-first-century of a Greek chorus by commenting on ment in the Vietnam War.1 music, Stucky has experienced a mag- the dramatic narrative in a variety of At the heart of Stucky’s August 4, nitude of success throughout his career ways throughout the work. The chorus 1964 is the fi gure of Lyndon Baines as a composer, scholar, educator, and in the fi rst movement, “The Saddest Johnson (LBJ), a complex man who performing artist.3 After his commission Moment,” introduces an excerpt of the struggled with two historically defi ning for the work, Stucky’s fi rst challenge was refl ective poem by Stephen Spender. issues during his time in offi ce as thirty- to fi gure out how he would defi ne the In other movements, the chorus pro- sixth president of the United States political and historical fi gure of LBJ in the vides an account of happenings in the (1963–1969). LBJ is often described context of an oratorio. Deciding which Oval Offi ce and events in the Gulf of as a controversial political fi gure in our area to focus on in the president’s life, Tonkin. The chorus also assumes the nation’s history. Many of the great things not to mention determining a text for role of characters in the fi rst person. he accomplished for the Civil Rights the work, were crucial stages. Fortu- For instance, the chorus assumes the Movement are overshadowed by the nately, Stucky became acquainted with deceased fi eld worker Michael Schwer- perceived mistakes made by his admin- Gene Scheer, a librettist from New York ner’s voice in the fourth movement, “I istration in the Vietnam War and the City, who agreed to the collaboration.4 Wish to Be a Part of That Fight.” The orchestra’s role extends beyond accompanying the vocalists: it is integral to the storytelling and at times even re- places voices. Often, specifi c instruments or groups of instruments foreshadow an event, and more often than not, the or- chestra reveals the reality of a situation. Stucky has an extraordinary way of us- ing orchestral timbres and colors, which gives the already moving and expressive elements of this work a more profound dimension. August 4, 1964 has twelve move- ments. While Scheer’s libretto provides the scaffolding of the overall form, Stucky created twelve movements to provide a formal structure. The Dallas
52 CHORAL JOURNAL Volume 55 Number 1 Symphony commission requested that movements four, fi ve, and eight focus on one, two, ten, and twelve refl ect both the oratorio last approximately one themes that have to do with the Civil themes. The seventh movement, “Elegy,” hour; to comply with that mandate, Rights Movement; movements three, is the only movement for orchestra and the movements range from three to six, nine, and eleven advance the action has since been programmed as a stand- ten minutes.5 As outlined in Table 1, of the Vietnam War; and movements alone orchestral work.
Table 1. Structure of August 4, 1964
Civil Rights Movement Combined Subject Matter Vietnam War
Movement 1 “The Saddest Moment” Introduction of Fannie Lee Chaney, Carolyn Goodman, Robert McNamara, and poem by Stephen Spender
Movement 2 “Historians” Introduction of LBJ
Movement 3 “Oval Offi ce I” Conversations between Johnson & McNamara
Movement 4 “I Wish to Be a Part of That Fight” Essay by Michael Schwerner
Movement 5 “The Secret Heart of America” Johnson’s speech (March, ’65) Story about Mrs. Chaney’s grandfather
Movement 6 “Oval Offi ce II” Conversations between Johnson & McNamara
Movement 7 “Elegy” Orchestral movement
Movement 8 “Letter from Mississippi” Andrew Goodman’s letter Movement 9 “Oval Offi ce III” Conversations between Johnson & McNamara Movement 10 “August Fourth” Crux of events Movement 11 “Had We Known” Refl ective aria for McNamara Movement 12 “What Is Precious Is Never to Forget” Poem by Stephen Spender
CHORAL JOURNAL Volume 55 Number 1 53 August 4, 1964 • 50 Years Later
The majority of the text was derived the fi rst and last movements (along with complex man. This juxtaposition cap- from primary historical sources. Less abbreviated appearances in other move- tures an image of a multifaceted, fallible than 15 percent of the text comes from ments). The remainder of the libretto human being, and Stucky’s oratorio asks the words of Scheer, whose primary re- was fashioned by Scheer to poetically us to consider President Johnson as a sponsibility was to research, pare down, unite the stories.7 It is important to modern-day tragic hero. Musically speak- and assemble the text.6 Scheer’s primary note that the work is not a sequential ing, the text inspired Stucky to create sources include conversations between narrative of the events of August 4, 1964. musical gestures that came to be as- LBJ and Secretary of Defense Robert Although portions are chronological, it sociated with particular characters and McNamara from the White House also contains a number of added events sentiments. Stucky said of his method: Tapes; portions of the president’s March and moments of departure from the 15, 1965, speech (commonly referred to timeline. These moments serve to ex- Such a large structure needs to be as the “We Shall Overcome Speech”); pand the narrative and personalize the clarifi ed by recurring musical topics, and excerpts from a poem by Stephen events of that day. themes even, leitmotifs even. This wasn’t something that I pre-planned. Spender––“I Think Continually of Those The libretto also captures the It was a natural response to the Who Were Truly Great”––which be- personal and perhaps lesser-known need to make the result clear and comes a unifying text in the work and is compassionate side of LBJ, along with urgent and expressive. Suddenly I sung unaccompanied by the chorus in the disconnected, egotistic side of a understood why Wagner’s attaching
August 4, 1964 received its NY premiere on Wednesday, May 11, 2011, at Carnegie Hall in NYC as part of the inaugural Spring for Music Festival. Dallas Symphony Music Director Jaap van Zweden, conducting. Soloists (L - R): Kristine Jepson and Indira Mahajan as the mothers of the slain civil rights workers, Vale Rideout as Secretary McNamara, and Rodney Gilfrey as President Lyndon B. Johnson. (This was the Dallas Symphony's eleventh appearance at Carnegie Hall and its fi rst with Jaap van Zweden.) Photo credit: Steve J. Sherman
54 CHORAL JOURNAL Volume 55 Number 1 essentially advertising jingles to Author’s note: every character and idea in some of his operas was not expedient August 4, 1964 is published by the or lazy or cheap, but completely Theodore Presser Company. The work June 25 - 29, 2015 necessary.8 received a 2013 Grammy nomination for “Best Contemporary Classical Rollo Dilworth Composition.” A recording is available These musical gestures are a central 2015 Festival Conductor from Naxos, performed by the Dallas unifying element in August 4, 1964. The Symphony Orchestra and Chorus.11 Jena Dickey application of leitmotifs, as labeled by Resident Conductor Stucky, gives the work a sense of con- nectedness through which the stories NOTES stand out with greater depth. Stucky spoke openly about how this commis- 1 LBJ Library,
CHORAL JOURNAL Volume 55 Number 1 55 CALL FOR PAPERS Research Poster Session 2015 ACDA National Conference Salt Lake City, Utah February 25 - 28, 2015
TheTThe American Choral Directors Association willwwill ssponsorpo a session to disseminate the results of eexcellentxcelle research about any aspect of the cho- ral arartt at its 2015 National Conference in Salt Lake City,CiC tty, FeFebruarybru 25–28, 2015. Participants chosen for thethe ppresentationresenta will be required to prepare a poster describingdescribing thetheir research and to be available during the presentationpresentation sessession to discuss their work with interested conferenceconference attendattendees.e TheThe intent ooff the research poster session at the ACDA Na- tionaltional ConConferenceference is tto bring current research to light and to encourage our colleaguesll in the choral world to stay in touch with research in choral music, applying what they learn to performance practice, repertoire choice, etc. Of particular desire are papers about repertoire, performance practice, conducting pedagogy, editions, analysis that will illuminate performance, and vocal or compositional practices in contemporary choral music. A poster session is a research report format used widely in the natural and social sci- ences, and increasingly in the humanities. Presenters prepare a poster (usually on tag board or something heavy that will stand up), showing the main points of their research with brief text and illustrations. Then, the presenter stands next to his/her poster during the session, answering any questions from people who come to see the displays. We also expect presenters to have handouts (e.g., an annotated bibliography, an abstract with examples) and copies of the paper upon which the presentation is based. Most of the presenters selected by the committee will also have about 12 minutes to talk about their work. Participants will be required to furnish 10 copies of a complete report (one of which will be collected for the ACDA Archives and the remainder to be available for distribution at the presentation session) and 100 copies of a report summary (limited to two pages or fewer). Participants may also be asked to respond to post-conference inquiries about their work that could include requests for full copies of their reports. 1. Papers submitted for presentation must comply with the following guidelines:
(a) papers should not have been presented at another major conference; (b) if the data has been presented in whole or substantive part in any forum or at previous research sessions, a statement specifying particulars of the above must be included with the submission; and
(c) the paper may have been submitted but must not be in print prior to the conference. Prospective presenters must be members of ACDA.
2. Papers presented at other conferences will be considered only if the audience was sub- stantially diff erent (e.g., a state meeting or a university symposium). A statement speci- fying particulars of presentation must be included with the submission. Preference will be given to presenters who did not participate in the 2013 ACDA research poster session.
3. The research may be of any type, but a simple review of literature normally will not be considered for presentation. Manuscript style of articles representing descriptive or ex- perimental studies must conform to the Publication Manual of the American Psychological Association (3rd edition, 1983). Authors of other types of studies may submit manuscripts that conform to either A Manual for Writers of Term Papers, Theses, and Dissertations (K. L. Turabian, 7th edition, 2007) or The Chicago Manual of Style (16th edition, 2003).
4. Submit fi ve copies of a full report beginning with an abstract no longer than 250 words summarizing the research. Each author’s name, institutional affi liation, and fi rst author’s mailing address should appear only on one separate cover page not attached to the full reports with abstracts. Please provide e-mail addresses. Incomplete submissions (e.g., reports without abstracts, or projects in progress will be rejected).
5. Correspondence will be sent only to the fi rst author. Each submission should include both a fi rst-author-addressed, stamped, letter-size envelope to facilitate a more timely response from the committee.
6. Submissions should be sent to:
Attn: Richard Waters, American Choral Directors Association, Research Poster Session 545 Couch Drive, Oklahoma City, OK 73102
7. Submissions must be postmarked by September 15, 2014, and received by September 30th, 2014. Extensions cannot be granted.
8. Submitted reports cannot be returned.
9. All submissions will be screened by a panel of qualifi ed judges.
Applicants will be notifi ed of the committee’s decision by November 2014.
The Purposes of ACDA According to the ACDA Constitution and Bylaws
• ToTo fosterfoster andand ppromoteromote cchoralhoral ssinging,inging, whichwhich wwillill pproviderovide aartistic,rtistic, ccultural,ultural, aandnd sspiritualpiritual experiencesexperiences fforor tthehe pparticipants.articipants.
• ToTo fosterfoster andand ppromoteromote tthehe ffinestinest ttypesypes ooff cchoralhoral mmusicusic ttoo mmakeake tthesehese eexperiencesxperiences ppossible.ossible.
• ToTo fosterfoster andand ppromoteromote tthehe oorganizationrganization aandnd ddevelopmentevelopment ooff cchoralhoral ggroupsroups ooff aallll ttypesypes iinn schoolsschools andand ccolleges.olleges.
• ToTo fosterfoster andand ppromoteromote tthehe ddevelopmentevelopment ooff cchoralhoral mmusicusic iinn tthehe cchurchhurch aandnd ssynagogue.ynagogue.
• ToTo fosterfoster andand ppromoteromote tthehe oorganizationrganization aandnd ddevelopmentevelopment ooff cchoralhoral ssocietiesocieties iinn ccitiesities aandnd ccommunities.ommunities.
• ToTo fosterfoster andand ppromoteromote tthehe uunderstandingnderstanding ooff cchoralhoral mmusicusic aass aann iimportantmportant mmediumedium ooff contemporarycontemporary aartisticrtistic eexpression.xpression.
• ToTo fosterfoster andand ppromoteromote ssignificantignificant rresearchesearch iinn tthehe ffieldield ooff cchoralhoral mmusic.usic.
• ToTo fosterfoster andand eencouragencourage cchoralhoral ccompositionomposition ooff ssuperioruperior qquality.uality.
• ToTo fosterfoster andand ppromoteromote iinternationalnternational eexchangexchange pprogramsrograms iinvolvingnvolving pperformingerforming ggroups,roups, conductors,conductors, aandnd ccomposers.omposers.
• ToTo fosterfoster andand eencouragencourage rrehearsalehearsal pproceduresrocedures cconduciveonducive ttoo aattainingttaining tthehe hhighestighest ppossibleossible levellevel ofof musicianshipmusicianship aandnd aartisticrtistic pperformance.erformance.
• ToTo cooperatecooperate wwithith aallll oorganizationsrganizations ddedicatededicated ttoo tthehe ddevelopmentevelopment ooff mmusicalusical ccultureulture iinn AAmerica.merica.
• ToTo disseminatedisseminate pprofessionalrofessional nnewsews aandnd iinformationnformation aaboutbout cchoralhoral mmusic.usic.
Amy Blosser
to posttest design. The students had no were grouped into the following three VocalVocal JazzJazz previous collegiate coursework in jazz categories: 1) Jazz style—rhythmic lan- Patrice Madura improvisation. A Confi dence in Teach- guage, tonal language, scat syllables, and (Ward-Steinman) ing Improvisation Questionnaire asked vocal timbre; 2) Creative devices—origi- National R&S Chair students to rate their self-confi dence nal and/or varied use of vocal timbre,
CHORAL JOURNAL Volume 55 Number 1 59 space constraints prevents inclusion of recorded improvisation versus your than the pretest means, with none all workshop details, the sessions were fi rst?”After the order of the forty-eight lower than 4.0 on a fi ve-point scale. The arranged to cover the following topics: recordings was randomized, master CDs combined pretest mean was 3.26, and were provided to two jazz professors, the combined posttest mean was 4.26, Day 1. Roots and Traditions of who rated them on the twelve achieve- indicating a rating change of one full Vocal Jazz ment criteria. Finally, each participant’s point, from “some confi dence” to “mod- pretest and posttest confi dence and erately strong confi dence” in teaching Day 2. Elements of Vocal Jazz Style achievement ratings were entered into improvisation according to the National the Statistical Package for Social Science Standards. This increase in means was Day 3. Arrangements and Arrangers (SPSS). statistically signifi cant. of Vocal Jazz For improvisation achievement, all of the posttest means were higher than Day 4. Rehearsal of Choral Arrange- the pretest means, except for “correct ments Results notes for the harmonies given.” The Students’ class standings were the combined pretest mean was 3.38 and Day 5. Improvising to the 12-Bar following: Freshmen, 8%; sophomores, the combined posttest mean was 3.73 Blues and Transcribing Solos 12%; juniors, 21%; seniors, 46%; and on a six-point scale, indicating a change master’s degree students in the teach- from “moderately weak” to “moderately Day 6. Writing and Playing 12-Bar ing certifi cation program, 12%. There good.” Despite the increase of only .35 Blues Piano Voicings and were 10 females and 14 males. Means between the two means, it was large Bass Lines indicated that they had approximately enough to be considered a statistically 4½ years of voice lessons but less than a signifi cant increase in improvisation skill. Day 7. Jazz Solo Singing year of vocal jazz ensemble experience, Four of the twelve improvisation items and 7½ years of instrument lessons improved the most from pretest to Day 8. Jam Session of Arrangements, with 1½ years of instrumental jazz en- posttest: the use of jazz-style scat syl- Improvisations, Transcriptions, semble experience. Although all of the lables, and the original/varied use of syl- and Standards participants were choral music educa- lables, timbre, and range. Other aspects tion majors, they had surprisingly more that improved signifi cantly were jazz At the conclusion of the study, the instrumental experience than vocal. rhythmic language, jazz tonal language, participants responded to the prompt: For confi dence to teach improvisation, varied dynamics, and cohesive structure. “What did you think about your second all of the posttest means were higher Notably, students with instrumental jazz ensemble experience improvised the best. Students’ comments regarding their own improvisation achievement from magine … Sing Where Inspiration Was Born. pretest to posttest refl ected the posi- I singing in the venues of the great tive statistical results, as follows, with no composers, in awe negative comments found: inspiring cathedrals and charming village churches, for appreciative audiences “I think my second improv. was much around the world. Let us take you there. more creative, with unique licks.”
“I was more confi dent the second time because I had concrete ideas to draw from.” CULTURALULTURA TOUR CONSULTANTS It Starts With An Idea... “Round two was a lot easier for me. I (866) 499-3799 |www.CulturalTourConsultants.com | [email protected] | 259 E. Michigan Ave., Kalamazoo MI 49007 didn’t plan anything but just sang
60 CHORAL JOURNAL Volume 55 Number 1 what I felt. I ended up coming up achievement and confi dence to teach it. with a theme that I did little varia- The disconnect may be due to the fact YYouthouth andand tions of.” that the confi dence questionnaire was SStudenttudent ActivitiesActivities based solely on the National Standards, “I felt the second improv. went much which do not mention the word jazz, Amanda Quist faster because I knew the twelve- while the improvisation assessments National R&S Chair bar blues, so I understood when were jazz-based. Regardless, developing
“The second time was far more stylisti- cally appropriate for jazz than the fi rst time.”
This study shows that a course in vocal jazz can significantly improve improvisation skill and the confi dence to teach it. Where the workshop ap- pears to have fallen short is with regard to teaching correct pitches for given harmonies, suggesting that more time was needed to practice scale/chord relationships. Also, participants did not substantially improve their jazz timbre, despite hearing many recorded models. Perhaps this is to be expected consid- ering that these choral music education majors were currently studying applied voice with classically trained professors and may have been resistant to singing in jazz style. Finally, participants made only small gains in the development of varied rhythmic and melodic ideas, suggesting the need for increased instruction. Interestingly, no statistical relation- ship was found between improvisation Lee University - Tennessee
CHORAL JOURNAL Volume 55 Number 1 61 tiative. Offi cers looked at what the stu- increased from one member to sixteen. a kick-off meeting to discuss coming dents of Lee University were interested One of the main projects was recruit- events and recruiting members. ACDA’s in and created events to appeal to Lee ment for the choral program. After Sing Up! membership campaign was an University students while connecting the multiple recruitment drives throughout effective marketing tool and infl uenced events to choral music. The fall featured the university campus, the chapter had a spike in campus chapter member- a composition lecture series featuring a substantial list of students interested in ship. In the fall semester, ACDA-WCU composers such as Susan LaBarr and the choral program. In just one semester hosted two guest clinicians: Stacy Horn John Wykoff. The chapter also wanted to of recruitment, the size of the University spoke about her new book, Imperfect support student choral composers, so choral program doubled. Harmony: Finding Happiness Singing with the lecture series ended with an event Another accomplishment of the Others, and Julie Wydrzynski presented called the Choral Coffee House, where chapter was taking seven of the sixteen a session titled “Surviving Your First Five students gathered for coffee and tea members to the Central ACDA Division Years of Teaching.” In October, chapter to read through and perform student Conference. Everyone who went was members traveled to Elizabethtown for choral compositions. thrilled to be there, and it was an excel- the ACDA-PA fall conference and co- The spring featured a guest lecture lent opportunity for our members to hosted a used music sale fundraiser. They series by conductors/composers Alice network and develop themselves pro- closed the semester with a carol-sing at Parker and Daniel Brinsmead. In March, fessionally. While most of our chapter’s the Chester County Hospital, followed ten of the student members were able efforts this semester went into building by a social event. to attend the Southern ACDA Divi- a solid groundwork for growth, what The spring semester started with sion Conference in Jacksonville, Florida. was accomplished was crucial for the a fundraiser—a faculty chili cook-off. The chapter also created a student-led program’s development. The University It was a success and raised money to chamber ensemble, a workshop en- of Akron student chapter now has a help scholarship students attend the semble that allowed undergraduate and core group of members with which to Eastern ACDA Division Conference. graduate conductors podium time and advocate for the choral program. We Ten students traveled to Baltimore for experience in front of an ensemble. Af- have great plans for the future and look the conference and came back to cam- ter experiencing much growth, the Lee forward to seeing them come to fruition. pus with renewed energy to fi nish the University Chapter is looking forward to school year. ACDA-WCU hosted two a wonderful 2014-2015 academic year. spring guest clinicians: Guanhui Chen West Chester University presented a session titled “Choral Music of Pennsylvania in China,” and Shawn Wydrzynski pre- University of Akron-Ohio sented a session titled “Teaching Music The student ACDA chapter at West in Urban Schools.” In May, the student After years of inactivity, the University Chester University of Pennsylvania had chapter gathered for a reading session of Akron ACDA chapter was reinstated a very active 2013-14 year, with grow- of public domain music for high school in the 2013–2014 school year. During ing membership and participation in singers to discuss attending the ACDA- the fi rst semester, student membership chapter activities. The year began with PA summer conference and to elect offi cers for the next year. Over the school year, ACDA-WCU The American Choral Directors Association says THANK YOU to established their own bulletin board in the school of music building and signifi - cantly increased use of social media to boost awareness and participation in ACDA events. Offi cers’ goals for the next year include raising money to help students travel to Salt Lake City for contributing copies of the concert recordings from the for the national conference, increasing 2014 Eastern, Central, North Central, Northwestern, Southern, membership in the local chapter, higher attendance at local meetings, and par- and Western Division Conferences to the ACDA Archive ticipation in the newly created ACDA Mentoring Program.
62 CHORAL JOURNAL Volume 55 Number 1 The RAYMOND W. A ccontestontest ccreatedreated iinn aann eeffortffort ttoo ppromoteromote cchoralhoral mmusicusic aandnd eensurensure iitsts ffutureuture BROCK bbyy showcasingshowcasing tthehe talenttalent ofof youngyoung Memorial Student Composition Contest ccomposersomposers aacrosscross tthehe ccountryountry
Many young composers have responded to this opportunity motivated by the $1,000 cash award and the prospect of having their work premiered at an ACDA National or Division Conference.
Previous Winners include:
1998 Paul A. Aiken Flanders Field 2006 Dominick DiOrio The Soul’s Passing 1999 Daniel Pinkston Nunc Dimittis 2007 Kristen Walker In Monte Oliveti 2000 Aaron Garber Stabat Mater 2008 Benjamin Paul May Absalon, fi li mi 2001 Michael Conti Choric Song 2009 Derek Myler Psalm 100 2002 Joshua Shank Musica Anima Tangens 2010 Michael Mills Crossing the Bar 2003 Brian Schmidt Lux Eterna 201 1 Joshua Fishbein Oseh Shalom 2004 Kentaro Sato Kyrie 201 2 Julian Bryson Redemption Mass 2005 Dan Forrest Selah 201 3 Matthew Emery Unto Young Eternity
Application and contest guidelines are available at
acfea.com 3HUVRQDO
From the beginning, a dedicated ACFEA Tour Manager will work with your group and help you meet your ensemble’s touring goals.
We provide skilled handling of all the technical and logistical details; securing the performance opportunities your group needs, and balancing your musical, sightseeing and cultural schedules.
“I am always impressed with the accessibility of the ACFEA staff, from planning to implementation. I feel as though ours is the only tour happening - and I know that’s not true.” Deborah DeSantis, Artistic Director Colorado Children’s Chorale
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800-627-2141 ACFEA Tour Consultants Photos: University of Nebraska-Lincoln Chamber Singers performs in the Lady 110 Third Avenue North, Suite 202 Chapel of Ely Cathedral in England; Northwest Chamber Chorus performs in St. Stephen’s Basilica in Budapest, Hungary; Head Royce Colla Voce with the Edmonds, WA 98020 Oprah Winfrey Leadership Academy School Choir in Henley-on-Klip, www.acfea.com . [email protected] South Africa; Heinz Chapel Choir at Lake Titicaca in Peru CST 2063085-40. WST 600 470 812 Magen Solomon, Editor
William Levi Dawson’s Life in Speeches, Letters, and Writings by Vernon Huff
William Levi Dawson (1899–1990) The MARBL website provides a was one of the foremost arrangers of general overview of the collection’s con- Negro spirituals in the twentieth century. tents. Each of the twelve components He is also remembered as an outstand- of the series is given a “scope and con- ing composer, conductor, and speaker. tent note,” an “arrangement note” (e.g. His arrangements are still sung by choirs chronologically), and a listing of the con- all over the world; except for a few dis- tents of each folder of the series. For ex- sertations and various articles, however, ample, the location of Series 4 (Writings very little has been written about him. by Dawson 1955–1959) is listed as Box Until recently, no research has made use 29, and it includes seven folders. The de- of the Dawson papers held at the Manu- scription of folder three appears under script, Archives, and Rare Books Library the rubric, “Speech, American Choral at Emory University in Atlanta, Georgia. Directors Association convention [un- As noted in the Collection Description dated].”2 This overview is indispensable on the library website: in helping a researcher develop a plan of attack before examining the collection. The collection contains the personal William Levi Dawson Of particular interest to researchers are papers of William Levi Dawson from the extensive original manuscripts of 1903–1990. The papers include The papers are organized into twelve Dawson’s choral arrangements and his correspondence, original scores of Negro Folk Symphony. One can see that Dawson’s works; files relating to series: correspondence; scores; music Dawson’s music publishing; writings publishing fi les; writings by Dawson; he took painstaking care as he wrote by Dawson; subject fi les; notebooks, subject fi les; notebooks, address books, and that he made many, many revisions address books, and scrapbooks; scrapbooks; other personal and family to each piece. personal and family papers; papers; photographs; printed material; In keeping with his era, Dawson kept photographs; audio visual materials; carbon copies of the letters he wrote 1 ephemera; audiovisual materials; and ephemera; and printed material. collected material. The materials are as choral director and director of the kept in 120 acid-free boxes, separated School of Music at Tuskegee. These by series and subseries, and generally include many duplicates of the same divided chronologically, when possible, letter, addressed to different individuals Vernon Huff is assistant professor of into folders. Ninety-three oversized pa- or institutions. He also kept volumes Choral Music Education at State pers are also included. The holdings are of personal letters and cards that he University of New York at Fredonia sizable; one gets the sense that Dawson and his wife received. In addition, the [email protected] discarded very little. archive contains journals of business
CHORAL JOURNAL Volume 55 Number 1 65 expenses, programs from concerts he March 17, ’21 Though he does not mention the attended, and notebooks full of jottings Mr. Wm. L. Dawson, song by name, from the word “honey” and thoughts. Examining even a small Tuskegee, Alabama we can infer that Burleigh was referring selection from these writings allows us to “Jump Back, Honey, Jump Back,” for to gain a better understanding of Wil- My Dear Mr. Dawson, solo voice and piano, with a text by Paul liam Dawson and his place in the choral Lawrence Dunbar. The song was pub- In looking over your song more music world of the twentieth century. lished in 1923 by the Wunderliche Piano carefully than I had time to when Dawson was an outstanding composer, you fi rst showed it to me, I fi nd Company. The published version does educator, and conductor, and specifi c many weak spots in it. not contain these issues, so Dawson documents in the archive give extraor- evidently must have made adjustments dinary insight into each of these facets Particularly this is noticeable in according to Burleigh’s instructions. of his music making. your frequent use of 6/4 chords During his lifetime, Dawson and his (sometimes on the first beat of choral compositions and arrangements a measure) and the doubling of became known throughout the coun- Dawson as Composer 3rds and 7ths which never sounds good—especially where the root try. The archive contains a plethora of letters from notable musicians of his William Dawson saw himself fi rst of the chord is omitted. (in the day, including James Weldon Johnson, and foremost as a composer. After initial 7th measure of the song, counting from the beginning of the verse, in Wendell Whalum, and Robert Shaw. schooling at Tuskegee, Dawson studied the word “Honey,” you will fi nd an One such letter of note is from Marshall composition, graduating in 1925 with evidence of this. I have penciled in a Bartholomew, conductor of the Yale a bachelor of music degree in theory better arrangement of the chord— Glee Club (1921–1953). Bartholomew at the Horner Institute of Fine Arts in which by the way, should have a ♮ himself was a prolifi c arranger of Ameri- Kansas City, Missouri. He went on to different resolution with “a ”—an can folk songs and spirituals, many of receive a master of music degree in awkward cross-relation. which are still performed today.7 composition from the American Con- 3 Then too, the important part of the servatory of Music in Chicago in 1927. song, in each voice is two bars short Dear Mr. Dawson: When he retired from Tuskegee at the for correct form and the accent age of fi fty-six, he wanted to manage of the words. I have suggested the You will be interested to know that his publishing empire and increase the alteration necessary to correct this the Yale Glee Club will sing your number of festivals choirs he was able fault, and I hope you will see the setting of “Hail Mary” in Symphony to conduct, but his primary aim was to benefi t of it. Hall, Boston, on December 4th. The boys have taken to it with great focus on arranging and composing.4 Six-four chords always suggest a enthusiasm and I think will do a very In 1921, twenty-two-year-old Daw- cadence and a cadence should come respectable job of it. son was still a student but was already at the end of a piece. They are weak I think you have managed to beginning to compose. The archives and ineffective in the middle of a combine with rare skill the simple contain a letter from Harry T. Burleigh composition and indicate the hand skill of the simple, primitive nature of (1866–1949), written that year, whom of an amateur in the use of harmony. the spiritual, with the almost liturgical Dawson sought out for advice about chorale-like “Hail Mary” which comes his work. Burleigh was an early, impor- Do try to correct them if you want in the middle and continues with the to improve your song. original melody as a counterpoint. tant arranger of Negro spirituals. Willie This choral section doesn’t sound Strong writes that Burleigh’s “arrange- As it is now, it has no commercial at all like a spiritual. Do you know ments of African American folksongs value, altho’ it has many effective its history? Was it borrowed, or set a standard for several generations points. picked up by accident from Catholic of composers.”5 Dawson had evidently sources? It would interest me to shown Burleigh one of his compositions With kindest regards and all good know because if I could have your and left it with him. The complete letter wishes, I am authentic defi nition of the sources of this spiritual I might include them in follows: Very truly yours, my program notes for our Carnegie Hall concert in New York next HT Burleigh6
66 CHORAL JOURNAL Volume 54 Number 11 March 14th when we propose to in Symphony Hall, Boston, on In “Hail Mary,” the E-minor tune sing “Hail Mary” with several other December 4th. 8 “Mary Had a Little Baby” is juxtaposed spirituals and American folk songs. with the hymn-like setting of the text: The middle section of “Hail Mary” “Hail! Mary, Virgin Mary, Oh, Hail! ‘Chile As was Dawson’s custom, he sent (page 6 to page 11) about which you 10 inquired, is original. After much time of God.’ Hail!” In the fi nal section, a reply and saved a copy of the letter Dawson sets both texts simultaneously, for his records. An excerpt from the and patience spent in fashioning the melody which fi rst appears in the creating an especially moving and pow- response, dated November 29, 1948, bass on page 6 and later, on page 9, erful ending. follows: the chorale-like section “Hail Mary” Dawson does not address Bar- (hence the title of the piece) seems tholomew’s specifi c inquiries other than Dear Mr. Bartholomew: to have come to me not unlike to write that the middle section was a host of angels appearing in the Thank you for your letter of heavens singing in adoration to Him original to Dawson. That he is a deeply November 19. I am happy to know who was born under such lowly spiritual man is quite evident from this that the members of the Yale Glee circumstances. Yes, we love to call letter. His statement that the second Club have taken to “Hail Mary” with Him by much exalting names as “King section “seems to have come to me not great enthusiasm; and I am especially Jesus” and “King Emmanuel”, and by unlike a host of angels appearing in the happy to learn that you like it well much endearing names as “Chile of heavens”11 is reminiscent of the story 9 enough to use it on your concert God” and “Lit’l Boy-Chile”. of Handel composing Messiah. Dawson
CHORAL JOURNAL Volume 55 Number 1 67 had a deep, emotional connection to his (5) Page 5: measures 4, 5, 8, and special “attention” or emphasis be given music that was not only academic but 9, have all 1st tenors sing the solo; to the “short notes on the weak part of intense and profound. in measure 8, have all 2nd tenors each beat.” This weight would empha- sing (hum) the tenor part over the size the syncopated character of each baritone and bass parts. piece, putting metrical stress on parts of Dawson as Clinician (6) From page 10 to page 15 can be a measure that are generally unstressed. We also gain insight into Dawson the Tucked away among the scores in the learned very quickly if the following procedure is followed: Have the 1st arranger, because with item (5) Dawson archive is a document titled “Rehearsal and 2nd altos (2nd staff from the was, in effect, rewriting his own piece. In Suggestions For Ezekiel Saw de Wheel”: top of the page) and the baritones the choral score, the measures Dawson and basses (6th staff from the top notes are marked as tenor solos, with (1) Pronunciation: “de” is pronounced of the page) repeat measure 1, over the tenor section moving to the line “dee” when it precedes words and over, until they are able to sing beginning with a vowel sound, and their “parts” with ease at the proper above the baritone pitches. In these “duh” before those beginning with a tempo; since the 1st altos usually rehearsal notes, however, he divides the consonant sound. have difficulty, have them work tenor section and eliminates the solo. their part out with the basses; then Should conductors then disregard the (2) It is suggested that each singer add the baritones; observe well the instructions in the music and follow learn his or her part well; it will be accents! Then lastly, add the 2nd altos. Dawson’s directives in the rehearsal better if parts are committed! notes? From: (3) At fi rst, rehearse at a slow tempo; William L. Dawson12 For confi rmation, it is informative then gradually increase the tempo. to listen to the 1955 recording of the This procedure will be carried out Tuskegee Institute Choir, Spirituals: The in rehearsals. This undated list invites the conduc- Tuskegee Institute Choir.13 In the record- tor into the mind of an extremely disci- ing of “Ezekiel Saw de Wheel,” Dawson (4) Give attention to the “short” plined director and educator. Item (3) is divides the tenor section exactly as he notes on the weak part of the each [sic] beat! This matter should receive a general note, which all choral teachers states in the rehearsal notes, with a small especial attention in “Ev’ry Time I would be advised to follow, but item (4) group of tenors singing the solo as op- Feel the Spirit,” “Ain’-A That Good is a specifi c instruction, tailored to this posed to a single person. Since Dawson News!,” and “Ezekiel Saw de Wheel.” genre of music. Dawson suggests that was so precise with his other notes, one wonders why he would not have made changes in subsequent editions of this piece. Of equal interest to the performance UNIVERSITY practice notes are Dawson’s suggestions for teaching the “Doo-mah-loo-mah” MUSIC SERVICE section, by far the most challenging part. 0/ "OX s (ERSHEY 0! As an experienced conductor who had 2OSS 7 %LLISON 0H$ /WNER AND -ANAGER taught this piece many times to his own choir and to festival groups, he hoped $ISCOUNT ON #HORAL -USIC to impart the benefi t of his experience to singers and conductors. “Observe s 0ROMPT PROFESSIONAL SERVICE well the accents!” is a note that every s &RIENDLY KNOWLEDGEABLE STAFF choral conductor should convey to his s 3PECIALISTS IN CHORAL MUSIC or her choir. The 1955 recording bears 0HONE &AX out Dawson’s attention to the accents WWW5NIVERSITY-USICCOM E MAIL 3ALES 5NIVERSITY-USICCOM he includes in the arrangement. “Serving the choral profession since 1979”
68 CHORAL JOURNAL Volume 55 Number 1 Dawson as Conductor and longing; intensely alive in its June 28, 1933 in the Pre-Civil Rights Era emotion, spontaneous and vivid in Mr. William Dawson its projection; a contribution to the Tuskegee Institute After Dawson assumed director- folk-literature of the world of which Tuskegee Institute, Ala. ship of the Tuskegee Choir, it quickly Americans, both colored and white, rose to national fame. For years, the may justly be exceedingly proud. My dear Friend: choir toured constantly and was later Nothing of this appeared in last You do not know how many times featured in national radio broadcasts. A night’s concert, save for a moment I have started letters to you which series of performances for the opening in “Good News.” The fault was have never been fi nished but I hope of Radio City Music Hall in 1932 fi rst partly Mr. Dawson’s arrangements nothing will prevent this one reaching brought them to national acclaim. This and those he chose, and partly his completion. I want to congratulate acclaim—as one of the foremost choirs interpretation. Dett’s harmonization you fi rst of all, on the success you of the time—was tempered by the way of “I’ll Never Turn Back”; Mr. had in New York and especially for Dawson’s “Nobody Knows,” and they were viewed as a “race choir” by having used my number, “I Will Never other pieces have garbed a simple Turn Back No More,” which was the media and the public as a whole. poignant melody in pretentious especially mentioned by a number During the extended tour that followed harmonic garments abounding of reviewers. I know that New York the performances at Radio City, the chromatic modulations suitable to was a very rich experience for you choir presented a concert at Carnegie Meyerbeer, harmonic colors falsely on both its pleasant and perhaps Hall. It seems, however, that the concert rich á la Cyril Scott. And these, unpleasant sides. was not as well received as Dawson has unfortunately, Mr. Dawson caused hoped, at least by the critic of the New the choir to project stiffl y, with now I was glad to learn also of your and then a tempo rubato and now York Times: symphony which seems to be, from and then a hold. all reports, a monumental work. We have been fortunate here in The Tuskegee Institute Choir, which The result of this treatment, Rochester in hearing a number of gave a concert in Carnegie Hall unhappily, was to render the symphonic works by William Grant last night, under the direction of spirituals sterile and to substitute Still, What are you working on now? William L. Dawson, showed its good for their gorgeous vitality pallid Please give my kindest regards to technical drilling in the precision of concert pieces, stripped of their the Motons and the other members its attacks, its tonal unity, its excellent racial authenticity and not suffi ciently of the music staff, especially Mr. balance and the beauty of one of its interesting to stand up without it. Rosamond who was so kind to me solo voices. Its fi ne body of tone is while in Chicago. At your leisure, you blessed with the unique quality that It would be pleasant to relate that might drop me a line. the Negro timbre contributes to the non-spiritual numbers of Mr. choruses, and if it used these virtues Dawson’s program redeemed it, Very sincerely yours, differently, its performance might be as they should have done, since he well a thrilling one. has eschewed the spiritual’s simple R. Nathaniel Dett15 spontaneity for the formal concert But alas! Like some other Negro manner. But instead of Brahms choruses, this one has not escaped or Bach there were Metcalfe and At this point, Dawson had been at the seduction of classicism. The Christiansen—which leads one to Tuskegee for only two years. Dett ad- spirituals, which constituted three- believe that Mr. Dawson has not yet fourths of the program, were distinguished between Carnegie Hall dresses Dawson as “My dear Friend” delivered with the solemn and and Radio City. The audience was and confesses to previously starting precise formality that oratorio fair-sized and cordial.14 many letters to him. Dawson and Dett societies sometimes mistakenly did indeed know each other: “Dawson bestow on Handel or Bach. As Perhaps because of the less-than- greatly admired Dett and was able anyone knows who has ever attended a Negro religious revival, stellar review, R. Nathaniel Dett, the to meet and talk with him. Dett was or, for that matter listened to Hall Canadian-born contemporary of Daw- most encouraging; he urged Dawson 16 Johnson’s choir in its early days, the son’s who was also well known as a to continue studying composition.” spiritual is an aching or a lyric cry; a collegiate director and arranger, penned Dett notes that Dawson used one of music rising irresistible out of pain a letter to him: his pieces for a performance in New
CHORAL JOURNAL Volume 55 Number 1 69 York City. Bearing the date of the letter NOTES Bartholomew Papers.” Compiled by in mind (June 28, 1933), Dett is most Janice Eaton, revised January 26, 2010, likely referring to the Tuskegee Choir’s 1 Emory Libraries, “Dawson, William Levi, http://drs.library.yale.edu:8083/fedora/ performance of February 8, 1933, at 1899–1990,” Emory University. http:// get/music:mss.0024/PDF (accessed Carnegie Hall. fi ndingaids.library.emory.edu/documents/ January 11, 2012) 8 The Dawson archive at Emory Uni- dawson892/#descriptive_summary Excerpt taken from letter written by versity is indeed an abundant treasure (accessed December 19, 2012). Marshall Bartholomew to William trove of information on the life and 2 Emory Libraries, “Dawson, William Levi, Dawson, November 19, 1948, Dawson 1899–1990. William Levi Dawson Collection at MARBL, Emory University. work of William Dawson, and the archi- 9 val staff at Emory are extremely knowl- Papers > Writings By Dawson,” Emory Letter from William Dawson to Marshall edgeable and helpful. This brief article University. http://findingaids.library. Bartholomew, November 29, 1948, is meant to serve as an introduction to emory.edu/documents/dawson892/ Dawson Collection at MARBL, Emory University. the material available at Emory to choral series4 (accessed December 19, 2012). 3 10 William Dawson, “Hail Mary!” Neil A. Kjos musicians interested in Dawson, Negro John Haberlen, “William Dawson and the Copyright Act,” Choral Journal 23, no. 7, Music Co., San Diego, 2008. spirituals, the Tuskegee Institute Choir, 11 (1983). Ibid. and American collegiate choirs in the 12 4 Mark Malone, “William Levi Dawson: “Rehearsal Suggestions for Ezekiel Saw de fi rst half of the twentieth century. Many American Music Educator” (Ph.D. Wheel,” Dawson Collection at MARBL, important documents of the collection diss., Florida State University, 1981). In Emory University. Format is from the are available online through the Emory ProQuest Dissertations and Theses, original notes. Paper was found in University Libraries website:
A note from Amanda Bumgarner, Choral Journal editor
At the 2014 ACDA Leadership Conference in Salt Lake City, Utah, I had the privilege of eating dinner with James Kinchen, North Central Division President. As we chatted about ACDA and choral music, James mentioned the name William Dawson, and I told him that the Choral Journal would be publishing a column on Dawson in the August issue. I was excited to learn that James actually met William Dawson on a few occasions and had an autographed phot ograph of them together. Pictured here from left to right are Arthur Evans, Eugene Simpson, William Dawson, and James Kinchen. Coincidentally, this phot o was taken at the 1985 ACDA National Conference in Salt Lake City. In the background you can see part of the LDS temple.
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72 CHORAL JOURNAL Volume 55 Number 1 Richard Stanislaw, Editor
The Sound of (Congregational) Silence
By Bob Burroughs
Composer Bob Burroughs warns that lack of congregational singing should be a concern to church choir directors
Energy, excitement, discussion, chang- only the melody, because words on the sic leadership does not see the benefi ts es, pluses/minuses, and a world of screen do not provide any notation for of actually leading congregational singing. opinions clatter around the subject of part-singing. We are becoming a people Professional musicians might even take a worship in today’s churches. But among of unison singing—if we sing at all. nonchalant approach, feeling that if the all the noise, participation in worship— But more disturbing is: who really people sing, fi ne; if they don’t sing, that is congregational singing—sends a strong cares? Are choral directors—those of also fi ne. But it is not fi ne. Scripture tells statement of silence. us most involved in making sure people us time and time again to “sing praises” Plenty of sounds fi ll every sanctuary sing together—concerned with and as the people of God. “Let all the people or worship facility: choir, organ, piano, paying attention to the huge drop-off praise Thee!” Not one place in Scripture handbells, instruments, praise band, of congregational voices singing praises does it say: “Let only the pulpit musicians even conversations. But congregations to Holy God? It seems not. In churches praise Thee!” as a whole are just not singing. Many that do have wonderful participation in Others have bought into the myth simply stand, look around with their congregational singing, inspiration always that louder music will bring in the arms folded, shift their feet, and do not comes from the front with the leaders masses. Leaders may have determined sing the hymns or praise choruses. This asking the people to join together in that if dress is casual and the music is sad phenomenon has happened gradu- glorious praise to God the Almighty, to fast, loud, uses a variety of instruments, ally, and congregational singing has fallen Jesus the Savior of the world. and has the lead musician blasting on off to an astounding silence. Too many Choral musicians should do just a microphone with one or two voices do not sing, do not care to sing, and do that—lead the people in their singing— dominating the sound system, people not feel the need to lift their voices in even actually conducting the congrega- will want to joyfully participate and praise. Others in the congregation sing tion and enjoying hearing them respond come to their church and be involved in beautiful worship through the joy of in their ministry, and oh yes, maybe even singing together. People love to sing and become believers. Bob Burroughs is a composer and was will usually do their best with leadership. As a composer, I appreciate instru- an active minister of music for fi fty- They will respond to encouragement ments in the church, including drums! fi ve years. He has taught on the music to sing with expression and meaning— The Bible speaks often of drums, faculties of Samford University, Mercer softly, loudly; faster, slower—when they cymbals, trumpets and other musi- University (Atlanta), and Palm Beach cal expressions—everything that has Atlantic University, and was director of are treated like a congregational choir. the church music department, Florida And that includes making sure the con- breath—praising God, and everyone Baptist Convention, Jacksonville. He now gregational choir knows the music. singing! A praise team or others might lives in Greer, South Carolina. In some traditional churches, the mu- effectively encourage the congregation
CHORAL JOURNAL Volume 55 Number 1 73 to sing, but the danger is that the lead in between. God’s people need to sing. It should sing. Try teaching, leading, and vocalists can raise volume to the point will make their own hearts glad, and the encouraging the congregation to sing. that it actually discourages the congrega- heavenly Father will be praised and glori- This will result in long-term benefi ts in tion’s singing. fi ed with their voices lifted in worship. A worship and in appreciation for the cho- Before it is too late, choral musicians side benefi t of converting audiences to ral art. Will the sounds of congregational should give considerable thought to the participants might even be a few more silence turn around in coming years? almost lost art of congregational singing, choir singers. That is entirely up to the leading musi- whether the service structure be tradi- Although I compose music for choirs, cians and their attitude toward having a tional, blended, praise-style, or anything I have a deep concern that everyone singing people.
MASTER CLASS APPLICATION 2015 ACDA Nati onal Conference February 25-28, 2015 Salt Lake City, Utah
GREAT CONDUCTORS ON GREAT MUSIC: ACDA 2015 CONFERENCE MASTER CLASSES AND INTEREST SESSIONS WITH HELMUT RILLING, SIMON HALSEY, AND JOHN NELSON
World-renowned conductors Helmut Rilling, Simon Halsey, and John Nelson will be the featured clinicians for Great Conductors on Great Music, a new series of learning opportuniti es to be presented during the 2015 con- ference. In additi on to off ering interest sessions for all conference parti cipants, Helmut Rilling, Simon Halsey, and John Nelson will work with nine conductors in master classes throughout the course of the conference.
The master classes are designed to provide young conductors (those currently enrolled in a graduate program in choral conducti ng or professionals in the fi rst seven years of their careers) with the opportunity to work with these great conductors in rehearsing selected choral/orchestral works by Handel, Haydn, and Britt en. The mas- ter classes will allow the selected conductors to work with a chorus, soloists, and orchestral players under the directi on of Rilling, Halsey, and Nelson.
The applicati on deadline is October 1. For details and to complete the applicati on, go to htt p://acda.org/conference/MasterClassConducti ng.asp.
74 CHORAL JOURNAL Volume 55 Number 1 Estonian Philharmonic Chamber Choir King's Singers The Real Group Mormon Tabernacle Choir Utah Symphony Camerata Vocale Sine Nomine de Cuba The Metropolitan Chorus of Tokyo
More to come … ACDA NATIONAL HONOR CHOIR INFORMATION
20152015 ACDA NNaati onalonal ConferenceConference FFebruaryebruary 25-28, 20152015 SSaltalt LakeLake City, UtahUtah
2015 ACDA NATIONAL HONOR CHOIR CONDUCTORS
ANGELA BROEKER, Director of Choral Acti viti es at the University of St. Thomas, will conduct the Children’s Honor Choir. Children with unchanged treble voices in grades 4 - 5 are eligible to auditi on for this SSAA choir. All auditi onees must be sponsored by an ACDA member. Students in grades 6-9 must choose only one choir (Children or Middle School/Junior High) for which to auditi on.
BOB CHILCOTT, Principal Guest Conductor of the BBC Singers, will conduct the Middle School/ Junior High School Boys Honor Choir. Changed and unchanged boys in grades 6-9 are eligible to auditi on for this SATB choir. All auditi onees must be sponsored by an ACDA member.
ELENA SHARKOVA, Arti sti c Director of the Cantabile Youth Singers and Chorus Master of the Symphony Silicon Valley, will conduct the Middle School/Junior High School Girls Honor Choir. Females in grades 6-9 are eligible to auditi on for this SSAA choir. All auditi onees must be spon- sored by an ACDA member.
ANDRÉ J. THOMAS, Director of Choral Acti viti es and Professor of Choral Music Educati on at the Florida State University, will conduct the High School Mixed Honor Choir. High School stu- dents in grades 10-12 are eligible to auditi on for this SSAATTBB choir. All auditi onees must be sponsored by an ACDA member.
CRISTIAN GRASES, Assistant Professor of Choral Music at the University of Southern Califor- nia, will conduct the College/University/Community Lati n American Honor Choir. Adults age 18 or over who sing in college, university, or community choirs are eligible to auditi on for this SSAATTBB choir. All auditi onees must be sponsored by an ACDA member. ACDA members may sponsor themselves. ACDA NATIONAL HONOR CHOIR INFORMATION 2015 ACDA Nati onal Conference February 25-28, 2015 Salt Lake City, Utah
Up to 300 singers will be selected by auditi on to parti cipate in each choir. Singers may choose to auditi on for one choir from the following. All singers must be sponsored (or self-sponsored) by an ACDA member to auditi on and parti cipate.
Children’s Honor Choir (CHC) Senior High School Mixed Honor Choir (SHM) unchanged treble voices, grades 4-5. SSAATTBB, grades 10-12. Conductor: Angela Broeker Conductor: Andre J. Thomas
Middle School/Junior High Girls Honor Choir (MJG) College/Community Lati n American Honor Choir (CCL) treble voices, grades 6-9. SSAATTBB. Adults over 18 who sing in 2-year colleges, Conductor: Elena Sharkova university, or community choirs. Conductor: Cristi an Grases Middle School/Junior High School Boys Honor Choir (MJB) changing and changed voices, SATB, grades 6-9. Conductor: Bob Chilcott
TIMELINE
Sep. 1-30, 2014 Online auditi on window (Go to www.acda.org, follow Honor Choir link) ACDA sponsors register singers and submit recordings online. Auditi on fee: $30, nonrefundable. Paid by debit or credit card online through secured server.
Nov. 15, 2014 Auditi on results posted online by auditi on #. Emails will also be sent, so make sure the email address we have is updated. Reserve designated hotels immediately.
Dec. 15, 2014 Acceptance paperwork submitt ed to Coordinator. $125 registrati on fee paid online. Music will be mailed to singer when materials are received.
Feb. 25, 2015 On-site registrati on begins at 10 a.m. in Salt Lake City, UT, for all choirs.
Feb. 28, 2015 Final concerts for all choirs, with a special Honor Choir event with the Mormon Tabernacle Choir in the evening.
(Conti nued on next two pages) 2015 Nati onal Honor Choir Informati on (Conti nued from previous page)
As part of the applicati on, you are asked to read carefully and agree to the Singer Statement of Obligati on.
SINGER STATEMENT OF OBLIGATION
• Singers and chaperones agree to stay in their designated chorus’ hotel. Singers who do not stay in their designated hotel may be unable to perform.
• Singers must return all necessary paperwork to the Honor Choir Coordinator and pay registrati on fees online by December 15, 2015. Failure to submit in a ti mely manner will result in removal from the choir.
• Singers will arrive at the conference site with their music fully prepared. There will be a part check on site during the fi rst rehearsal. Singers who are not adequately prepared will be unable to perform and will be labeled an “audit.”
• Music and part-learning materials will be provided to singers. Singers agree to att end all rehearsals as stated in the fi nal rehearsal schedule. Singers who are tardy or miss rehearsal will be unable to perform and will be labeled an “audit.”
• ACDA will provide supervision for singers only during posted rehearsal ti mes. They are under parent/chaper- one supervision at all other ti mes.
• A “lights out” curfew of 11:00 pm will be in place for all singers OR one hour aft er the end of the evening performance, if att ended. Choir managers may adjust curfews ti mes as needed.
• Singers of opposite genders will not be in hotel rooms together without chaperone supervision. Singers will be respectf ul of other hotel guests and abide by hotel rules as posted and as sti pulated by their choir coordinator, ACDA member sponsor, or chaperone.
• Singers will not engage in illegal acti vity, including the use of alcohol, tobacco, or other controlled substance, or they will be immediately removed from the ACDA Honor Choirs and sent home at their parent/guardian’s expense.
FINANCIAL OBLIGATIONS All transportati on, meals, Honor Choir Hotel reservati on, and local expenses will be secured and paid for by the honor choir parti cipants. ACDA assumes no fi nancial responsibility for travel, hotel costs, or for meals.
When you view noti fi cati on of acceptance on the ACDA website, approximately November 15, 2014, imme- diately call the hotel listed and make your room reservati on. All singers must stay in the hotel assigned to the choir. ACDA Conference rate will begin at $129 per night, fi rst come fi rst served. Hotel reservati ons must be made in the Honor Choir Hotel assigned to your choir by December 15, 2014.
A $125 non-refundable parti cipati on fee MUST be paid for online by December 15, 2014. The registrati on form, code of conduct contract, notarized medical release form, photo/video release, and liability waiver must be submitt ed to the Honor Coordinator by December 15, 2014. These materials will be available upon noti ce of acceptance. All forms must be postmarked and returned by midnight December 15, 2014. 2015 Nati onal Honor Choir Informati on (Conti nued from previous page)
RECORDED AUDITION PROCEDURE FOR ALL APPLICANTS
Note: Audio-Enhanced Recordings will be disqualifi ed. Recordings should NOT be enhanced electronically in any way. If enhancement/fraud is detected, the submission will be discarded.
Children’s Honor Choir: (CHC) Go to www.acda.org and follow the links for Honor Choir auditi ons. You will be asked to sing “America” along with the accompaniment. The music and sound fi les are available on the website. Record yourself singing your voice part while the accompaniment plays. Recordings must be in .mp3 format.
Middle School/Jr. High School Girls (MJG) and Boys Honor Choir (MJB): Go to www.acda.org and follow the links for Honor Choir auditi ons. You will be asked to sing your part of Handel’s “Hallelujah, Amen” along with the accompaniment. The music and sound fi les are available on the website. Record yourself singing the part for which you are auditi oning while the accompaniment plays. Recordings must be in .mp3 format.
Senior High School Mixed (SHM) and College/Community Lati n American Honor Choir (CCL): Go to www.acda.org and follow the links for Honor Choir auditi ons. You will be asked to sing your part of Beethoven’s “Hallelujah,” from Mount of Olives, along with the accompaniment. The music and sound fi les are available on the website. Record yourself singing the part for which you are auditi oning while the accompaniment plays. Recordings must be in .mp3 format.
Mp3 Audio Auditi on Submission
• Use the best quality recording equipment you can. You can record a CD and convert it to an .mp3 fi le format or record directly to your computer. iTunes is recommended for .mp3 fi le conversion.
• Garageband and Audacity are recommended recording soft ware. Or you can use a recording device such as a Zoom recorder.
• Do not speak the name of the applicant or otherwise identi fy the applicant on the recording. Applicant name and identi fying informati on will be hidden from the auditi on judging committ ee.
• Remember to record yourself with the accompaniment playing.
• For technical support, call (405) 232-8161 during regular business hours or email [email protected].
• Any questi ons not related to technical support can be addressed to the Honor Choir Coordinator, Jessica Nápoles, at [email protected] ACDA’S SECOND NATIONAL SYMPOSIUM ON AMERICAN CHORAL MUSIC: THE MUSIC OF LATIN AMERICA
The American Choral Directors Association Research and Publications Committee is inviting research papers to be presented at the Second National Symposium on American Choral Music to be held in Austin, Texas, June 12–13, 2015.
SSEARCHINGEARCHING FFOROR A
Call for Papers
The event will be cosponsored by the University of Texas at Austin Music Department, the UT Center for American Music, and the UT Institute of Latin American Studies. The Symposium theme is "Searching for a Latin American Musical Style,” focusing on works from both the colonial and modern periods. The Symposium will include performances, paper/poster presentations, and composer and scholar panel discussions. ACDA invites interested scholars to submit proposals (2–3 pages) for paper presentations at the Symposium. The papers will be included in the published proceedings of the Symposium. Send proposals to Dr. John Silantien, Department of Music, University of Texas at San Antonio, One UTSA Circle, San Antonio, TX 78249. Electronic submissions can be e-mailed to [email protected]. Deadline for submissions is September 30, 2014. Stephen Town, Editor [email protected]
A Heinrich Schütz Reader: of the German language used in the his music, and his world will fi nd this Letters and Documents in Translation seventeenth century. The current vol- book to be an invaluable and unmatched Gregory S. Johnston ume is organized chronologically with resource. The average reader will learn Oxford University Press, 2013 169 documents divided into four large how to skim the verbose addresses ISBN 978-0-19-981220-2 (Hardcover) sections: 1) Youth and Early Manhood found in these documents, which are 283 pp. (1611–27); 2) Middle Age (1628– 44); generally lists of titles belonging to $74.00 3) Old Age (1645–56); and 4) Last Years Schütz’s superiors. The reader can still (1657–72). Each translation is clearly glean important information and catch Heinrich Schütz (1585–1672) is marked by a number and heading. For a glimpse of Schütz’s world regardless widely considered to be the most infl u- example: “65. Friedrich Lebzelter to of the verbose prose of the time. For ential German composer of the seven- Christian (V), Prince-Elect of Denmark conductors, the most valuable part of teenth century. This claim is supported (15 February 1633).” (90) Many of the the book is found in the prefaces to by several factors, one being his prolifi c documents receive a further summary, Schütz’s published collections (e.g., Can- compositional output of over fi ve hun- making it convenient to navigate the tiones sacrae). dred existing pieces, with many others book quickly, since the translations are While good editions generally sup- being lost. Schütz attained international presented one after the other. ply this essential performance practice acclaim as a composer, traveling often Each number and heading is indexed information, the inquisitive conductor to other courts throughout Europe to via the contents section in order to fur- will fi nd value in the complete preface study, publish, and compose. He was a ther assist the reader. The book’s preface as translated here. Other valuable infor- great teacher, allowing him to pass on and acknowledgments prove to be a mation regarding performance practice his compositional style to future gen- helpful review of previous scholarship can be gathered from Schütz’s letters erations of composers. Lastly and most regarding the primary source docu- describing the musical state of the importantly, his compositions show a ments relating to Schütz. In addition, A Dresden Court and several memoranda high level of craft in that Schütz was able Heinrich Schütz Reader is completed by listing musicians who were employed to set the German language expressively the addition of ten pages of illustrations, and available. In conclusion, this new while utilizing the concurrent styles of a glossary of German terms, an exten- publication fi lls a substantial void for the the early Baroque, the stile antico, and sive bibliography, and an index. Another English-speaking scholar and is sure to the stile moderno. important component of the book is spark further research into Schütz and A Heinrich Schütz Reader illuminates its many footnotes. Johnston does not his music. It is a must-have volume for the foreign world of this important annotate each translation as other com- any music library, seventeenth-century compositional fi gure by assembling “all pilations of source readings do, choos- sch olar, or Schütz enthusiast. the main documents associated with ing instead to supply any necessary Schütz, and a good many more.” (xxi) bibliographic, expository, or biographic John P. Rakes Johnston presents these documents, information through footnotes. Warrenville, Illinois many published here for the fi rst time, A Heinrich Schütz Reader is a pioneer- in an outstanding and reader-friendly ing work of scholarship that appeals English translation—a noteworthy feat primarily to musicologists; but any reader of scholarship given the archaic nature who desires to learn more about Schütz,
CHORAL JOURNAL Volume 55 Number 1 81 Performance Practices Baroque Era, Dennis Shrock has com- components and critical aspects of per- in the Baroque Era piled a valuable collection of information. formance practice.” Two words describe Dennis Shrock As he states in the introduction, “[T]he the ideal sound during the Baroque era: GIA Publications, 2013 performance practices presented here “soft” and “sweet.” There is a lengthy ISBN: 978-1-57999-963-6 are based upon information from pri- section regarding the basso continuo, 462 pp. mary sources; all descriptions, defi nitions, and a discussion on the use of vibrato. and recommendations are from the Perhaps some of the most intriguing For conductors, singers, instrumen- writings of authors who lived and wrote and frequently misunderstood topics in talists, and scholars, the topic of per- during the span of the Baroque era.” performance are presented in chapter formance practice is one of supreme The book contains quotations from two: meter, tempo, and conducting. importance though frequently an elusive nearly one hundred-fi fty different writ- Discussions in conducting classes and cache of knowledge to pin down. The ers who demonstrate knowledge in ensembles are often centered on tempo seemingly overwhelming task of tracking performance practice, arranged chrono- and the proper interpretation of meter. down reliable sources that are spread logically throughout each chapter. The The quotations included in this chapter across the musicological spectrum can author presents seven chapters for systematically present approaches to be daunting, given the amount of time consideration, each containing a number the interpretation of meter signatures. needed to research the material ad- of subtopics. First comes sound, which is An informative section on tempo rates, equately. In Performance Practices in the stated to be “among the most signifi cant tempo fluctuation, and recitative is
CALL FOR PROPOSALS 2016 AGO Nati onal Conventi on Houston, TX, June 19-23, 2016
The Houston AGO Workshops Committ ee invites applicati ons for presentati ons at the 2016 Nati onal Conventi on of the American Guild of Organists in Houston, TX, June 19–23, 2016. Proposals should consist of a single-page 250-word abstract, which sum- marizes the topic and the parti cular contributi on the presenter plans to off er. The 2016 Workshops Committ ee encourages a diverse array of proposals, from practi cal hands-on workshops to academic papers, and welcomes proposals for sessions of either 45 min- utes (most workshops) or 30 minutes (all papers). All proposals should make clear which of these two diff erent lengths is desired and indicate what kind of audio-visual and/or musical equipment will be required. Proposals must be received -- in PDF format, by email only to matt [email protected] -- by September 30, 2014, for considerati on.
82 CHORAL JOURNAL Volume 55 Number 1 included. mic patterns, all combined to achieve umes and articles that serve to enhance Chapter three is devoted to articula- the “affects” of various emotions. The the information contained in the book. tion and phrasing. Again, the concept of bibliography contains a broad selection soft and light is reiterated, matching the of sources, including documents from Brian Lanier elegance of the Baroque era. Within this the Baroque era and modern-day vol- Maryville, MO section, the author discusses articulation practice for voice, keyboard, strings, winds, and brass, along with an excellent discussion regarding the prevalence of messa di voce. Metric accentuation is Looking for a quality performance the focus of chapter four, in which the tour operator with the best author gives a logical explanation for the placement of strong/weak stresses in customer service in the industry? meter signatures. He details the concept of metric accentuation, literally altering the length of certain note values to re- fl ect stress as well as textual signifi cance. Rhythmic alteration is discussed in chapter fi ve. He states that “the notation of rhythmic patterns during the Baroque era allowed for considerable fl exibility in performance.” In fact, composers ex- Find out why so many choral directors pected performers to make modifi ca- choose to travel only with us. tions in rhythmic notation based on “well-understood conventions of rhyth- mic performance.” Several examples of rhythmic alteration are presented by the author with many more within the succeeding quotations. Chapter six de- tails the use of ornamentation, another expected practice in the Baroque era. It was considered “an inherent creative duty of the performer and a comple- ment to the printed score.” The type of ornamentation that was applied in performance seemed to be based somewhat on nationality. Singers de- ~Fully Customized Tours~ veloped styles of ornamentation, which were identifi ed with customs indigenous ~Engaged & Appreciative Audiences~ to specifi c countries. The author explains the use of appoggiaturas and trills that ~Unique Cultural Exchange Opportunities~ can be used by soloists or choruses, and how these differ from ornamentation found in passages that were utilized (877) 218-8687 only by vocal and instrumental soloists. In chapter seven, the topic is expression. www.worldculturaltours.com The author discusses the utilization of Experience the Difference... specifi c keys, modes, intervals, and rhyth-
CHORAL JOURNAL Volume 55 Number 1 83 All great performances start with exceptional material. When it comes to quality, our folders are strictly ‘A’-list. With materials like deep- grained leatherette designed to last for years. Solid metal corner protectors that laugh off bumps and bruises. And instead of cheaper polypropylene webbing used in other folders, tightly-woven nylon hand straps secured with double-headed rivets. See all our folders and accessories at musicfolder.com, or ask your music store to order them in for you. Your performance could improve substantially. Sturdy nylon hand strap gives you a secure, comfortable grip.
The Black Folder Choir RingBinders Band and Orchestra Folders Smart Easel (shown with Clear Pocket option)
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Carols: Distinctive Arrangements collection are either arrangements of alterations. The latter text is interpreted for Women’s Voices melodies or compositions on texts through a completely new musical lens. composed and arranged, from classic manuscripts and various The ABAB form of Carey’s setting alter- Paul Carey (2013) folk sources. Nonetheless, the recast- nates between a haunting, contemplative Treble Voices, various voicings: ing of these materials in Carey’s hand section and a second, more rhythmi- SA, SSA, SSAA and SA/SA is fresh and distinctive. His “Personent cally driving section. This compositional (double choir) Hodie” (from the Piae Cantiones), for choice musically refocuses the text on unaccompanied, and with example, retains the the apple’s theological role—that of harp/pno, perc, fl ute duo, or familiar tune of the emphasizing the praise of the apple’s vc obliggati work for the most acceptance and its eventual conclusion part but lightens the in the birth of Jesus. These fi ve original texture with gavotte- works alone make it diffi cult to overlook like ritornelli and an this collection, and underscore the fact unexpected rework- that these arrangements can also fi nd ing of the melody a home with more advanced treble/ in 7/8. Other works, women’s choirs. such as his SSA unaccompanied version Cristobal de Morales’s O Magnum Paul Carey Publishing of the classic “We Wish You a Merry Mysterium is the only work included in $17.95 Christmas,” fi nd a different voice through this collection where Carey assumes e-address:
CHORAL JOURNAL Volume 55 Number 1 85 contributed to the translations of French similar place in holiday/Christmas librar- Repertoire and Standards: texts and initial readings of some of the ies as the Oxford Book 0f Carols and College/University, High School, Music works in this volume.) Carols for Choirs currently hold. Well in Worship, Treble Choirs, Women The quality of these arrangements edited by Carey and “tested” by various and the breadth of stylistic variety types of treble/women’s choruses, this Key words: carols, Christmas, collec- refl ected in this holiday collection for solid collection possesses enough musi- tion, unaccompanied, worship treble voices is nearly unparalleled; for cal gold to fi t the needs of many types choral ensembles and programs of all of choirs, performances, and even edu- Paul Laprade types, and for churches with treble cational functions. Free, downloadable Rockford, Illinois ensembles, this fi ne publication could instrumental parts for these works are reasonably be expected to occupy a available at www.paulcarey.net/carols.
ChorTeach is ACDA’s online magazine for choral directors and music educators, specifi cally designed for those who work with amateur singers at all levels. All past issues of ChorTeach are available for ACDA members online at
World Music for Choirs: Benefi ts, Barriers, and Basic Pedagogy for Teachers by Stefanie Cash Most choral conductors desire to incorporate world music into the classroom, but they don’t know how. This article examines the historical importance of world music, offers benefi ts of exposing students to these works, and suggests several teaching approaches along with a list of helpful resources for further study.
The Mother/Daughter Choir: A Unique Experience for Your High School Women’s Choir by Carol Earnhardt Are you looking for ways to develop activities specifi c to your women’s choir? Urging singers to invite a mother or mother fi gure to be part of a special mother/daughter performance will create a bond between the adult participants, the singers, and the choir director. Find repertoire examples and tips for successful implementation in this article.
iPads in the Choral Classroom by Barbara Retzko How do you keep attendance in your choral classroom? Introducing ATTENDANCE2: a new app for the iPad that will save you time and make keeping track of attendance, arrival time, and absence easier for you and your students. Take a look and consider implementing this for the fall semester!
Jo-Michael Scheibe: An Interview by Sean Burton Get inside the mind of Jo-Michael Scheibe, established choral conductor and past national president of ACDA, as he shares words of wisdom on topics such as selecting repertoire, up-and-coming composers, and his thoughts on where the choral arts are headed over the next forty years.
The P.A.S.S.I.O.N.A.T.E. Choral Educator’s Guide to Longevity and Happiness by Derrick Fox Over time, the demands of music education can chip away at our passion for music. This short but insightful article is a reminder to develop a healthy balance between our work and home lives. Rekindle your P.A.S.S.I.O.N.A.T.E. approach to music education by adapting this acronym: Pace/Play, Acquire, Sing, Savor, Imagine, Ownership, Never, Appreciate, Trust, Empower.
86 CHORAL JOURNAL Volume 55 Number 1 CHORAL JOURNAL Volume 55 Number 1 87 Column Contact Information
ACDA members wishing to submit a review or column article should contact the following editorial board member:
Book Reviews Stephen Town [email protected] Children’s Choirs Ann Small [email protected] Choral Reviews Steven Grives [email protected] ChorTeach (online) Terry Barham [email protected] Hallelujah! Richard Stanislaw [email protected] Junior High/Middle School Choirs Lynne Gackle [email protected] On the Voice Sharon Hansen [email protected] Recorded Sound Reviews David Puderbaugh [email protected] Research Report Magen Solomon [email protected] Student Times Jason Paulk [email protected] Technology and the Choral Director Philip Copeland [email protected]
For feature article submissions, contact the Choral Journal editor, Amanda Bumgarner, at
For advertising rates and exhibit information, contact Chris Lawrence, National Advertising & Exhibits Manager, at
Advertisers’ Index
ACDA National Symposium 80 Meeting Music 25 ACFEA Tour Consultants 64 M u s i c f o l d e r . c o m 8 4 Alfred Publishing Company 10, 52 Naxos of America 72 Barbershop Harmony Society 87 University Music Service 68 Chorister's Guild - Dallas Chapter 41 Valiant Music Supply, Inc. 34 Cultural Tour Consultants 6 0 Witte Performance Tours 16 Distinguished Concerts Int'l - NY BC World Cultural Tours 83 Friendship Ambassadors Foundation 67 WSCM in Seoul 71 Gehrmans Musikforlag 38 Young Voices of Colorado 55 K I C o n c e r t s I F C
88 CHORAL JOURNAL Volume 55 Number 1 American Choral Music without YOU!
BE the American Choral Directors Association Take advantage of these benefi ts: American Choral Directors Association 545 Couch Drive Oklahoma City, Oklahoma 73102
James M. Meaders joins the DCINY Team
We are delighted to welcome Dr. James M. Meaders to the DCINY Development Team after 16 years on faculty at Mississippi College. As Professor and Director of Choral Activities in the Department of Music, Dr. Meaders conducted the Mississippi College Singers on three divisional and one national convention of ACDA, four international tours, and concerts in Lincoln Center and Carnegie Hall on the DCINY Concert Series.
You’ve been in education a long time – what made you decide to change Q careers and move to New York and work with DCINY? Meaders: I view this move as a continuation and expansion of my work in education. DCINY’s culture and values statement is, “The art of performance—the power of education.” This emphasis on the transformative power of arts education allows me to expand my realm of influence while broadening my own base of learning. I am also committed to service learning experiences and their place in the choral arts, and I am confident that this position with DCINY will afford untold opportunities for conductors and singers. DCINY Production/Carnegie Hall (2014) What skills/valuable experiences can you bring that will serve DCINY Q and help your colleagues in experiencing the same experiences you had with DCINY? Meaders: I bring to this position 16 years of college teaching experience, 12 of those spent as a Department Chairman and Director of Choral Activities. Like so many of you, I stood in front of ensembles striving to establish and maintain the highest standards of artistry and excellence. I joined the DCINY team because I have experienced, on multiple occasions, their commitment to these same high standards. I have witnessed the sense of satisfaction, pride, exhilaration, and inspiration that the choristers feel as they perform transcendent music with a phenomenal orchestra in one of the world’s most awe-inspiring venues. I believe in the value of these experiences to be formative in participants’ lives, and I am committed to working closely with conductors and groups to make possible an unforgettable experience. Do you have any additional comments for your choral colleagues who may be considering a performance Q opportunity in New York? Meaders: My experience with DCINY has taught me that they are committed to quality at every level. There is a genuine desire to forge relationships with performing groups that are based on mutual respect, with the goal of tailoring a residency that is uniquely designed and seamless from start to finish. Call James to congratulate him at 212.707.8566 x326 or [email protected] and discuss how he may assist you in realizing your performance dreams with DCINY. The Art of Performance – The Power of Education
Iris Derke, Co-Founder and General Director | Jonathan Griffith, Co-Founder and Artistic Director
250 West 57th St., New York, NY 10107 Tel: (212) 707-8566 Email: [email protected] www.DCINY.org