TOWARD A CHORAL PEDAGOGY FOR COMPOSERS DAVID CONTE, STEVEN SAMETZ, AND ROBERT KYR

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 Steven Sametz Robert Kyr Professor of Composition Ronald J. Ulrich Professor of Music at Lehigh University Philip H. Knight Professor of Music Chair of the Composition Department Artistic Director of The Princeton Singers Chair, Composition Department Conductor, Conservatory Chorus Chair of the ACDA Composition Advisory Committee Director, Oregon Bach Festival Composers Symposium (1999–2014) [email protected] University of Oregon School of Music and Dance San Francisco Conservatory of Music [email protected] [email protected]

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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

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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 What are the most essential peda- reading. By writing each night, discuss- vocal genre are publicly presented in gogical elements of a choral com- ing the work in morning seminars, and professionally recorded concerts. Stu- position 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

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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

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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

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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

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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

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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 chronologi- di—Schütz—Bach—Haydn—Mozart— and Victoria (including Archibald Da- cal order with some of the ten entries Beethoven—Schubert—Schumann— vison’s SSAA and TTBB arrangements consisting of two 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

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KYR: In general (and noting that there mysterious habits, intuitions, and choices, sing without hesitation the modal and will be exceptions), I start by asking if all infl uenced by the context of one’s in- tonal syntax of any pitch combination, the fundamental musical material of the dividual background and general culture. and then switch to Fixed Do in order work is truly memorable. Then I look For example, when Debussy auditioned to relate pitches to their written repre- at whether or not the music breathes at the Paris Conservatory at the age of sentation on a line or a space of all of both rhythmically, melodically, and har- ten, he played from memory the Chopin the seven clefs. All other activities, such monically. Is the text set in a way that G minor Ballade. as the study of harmony, counterpoint, allows the most signifi cant words of it We can ask ourselves: What kind orchestration, and analysis, will be in- (so-called “key words”) to be fully ex- of musician is this ten-year-old? One formed by this foundation. perienced? The text should be brought might say: “Well, Debussy was one of Composing, like any human activity, to life in a way that is more than mere the greatest geniuses of music; he is a ends up being an expression of one’s “highlighting”; it should be but rather it is infused with a deepened expressive meaning through the musical setting. Is the form of the text effectively con- TODAY, ONE OF THE GREATEST CHALLENGES FOR veyed through the form of the music? YOUNG CHORAL COMPOSERS IS TO FIND OR Are the dynamics carefully marked in a way that is helpful to the singer? Is WRITE COMPELLING TEXTS THAT ARE IDEAL FOR the work harmonically alive, favoring energized harmonic phrases with linear MUSICAL SETTING WHILE BEING RELEVANT TO THE integrity (regardless of harmonic style LIVES OF THE SINGERS AND LISTENERS. or aesthetic)? Are the inner voices 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 special case and proves nothing.” But I character and one’s level of commit- 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

22 CHORAL JOURNAL Volume 55 Number 1 FOR COMPOSERS

getting it out into the world. We are cur- his or her high school or college chorus Freedom and Copland a work like A 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

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and sensibilities of artists and listen- little or limited experience doing so. in past decades would fall under these 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-

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tumble” culture. choral composers should be encour- tastes. More importantly, the music being 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. 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

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rian chant. Our tastes are far fl ung and I think it is unlikely we will coalesce one year (and preferably longer), and 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 for sharing important information and insights about his or her music in a meaningful and inspiring manner. The American Choral Directors Association says THANK YOU to I am optimistic that an identifi able, cohesive American school of choral composition is beginning to emerge from the energized choral culture that is being fostered. In collaboration with out- standing university programs, ACDA and other such organizations have the po- tential to bring about the formation of for contributing copies of the concert recordings from the a strong and inclusive American school 2014 Southwestern Division Conference to the ACDA Archive of choral composition that is grounded in the living art of choral music.

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