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Home , Antoine Brumel, John Taverner, Steven Sametz

Preface Music of the : A Wealth

In recent years in the United States of Literature for the Male Chorus conductors have observed a by Jameson Marvin resurgence of interest in male-chorus singing. Performances and record­ ings by ensembles such as the King's Singers and inspire us, A good performance of music of Probably the most compelling and more collegiate, community, distinction is an experience of lasting aspect of Renaissance is and church male choruses are significance for both the performers that the composite whole projects a performing interesting and challeng­ and the audience. The reward in per­ feeling of "timelessness." There is a ing repertory in local concerts and at forming a work by a master com­ profound sense of the eternal in this state and national choral conven­ poser such as Josquin, Dufay, music. The multilevels of indepen­ tions. Publishers, too, are beginning Ockeghem, Taverner, Tomkins, dent rhythmic activity of each of the to respond, offering new editions of Tallis, Byrd, Victoria, Lassus, Pales­ vocal parts, combined with the often works for male chorus, and many trina, or Monteverdi, is directly pro­ relatively slow-moving harmonic American composers are offering portional to the mental and emo'­ rhythm! and influence of mode, significant contributions to the tional energy invested in rehearsing create. a kind of ethereal, oth~r­ literature for men's voices. it. The repertory of the Renaissance, worldly, reflective spirituality - an Male-chorus music (works which especially the major works - the almost dream-like effect. The are written for, or fit the vocal range Masses and by the master primary modes - dorian, phrygian, of the male voice) falls principally composers of the fifteenth and six­ lydian, mixolydian - exert a powerful within three style eras: 1) twentieth­ teenth centuries, offers rich rewards. influence on the listener. century repertoire: sacred and The purpose of this article is to en­ The sound of each mode is distinc­ secular compositions as well as tradi­ courage conductors to explore this tive, as one can hear by playing tional arrangements of folk and magnificent literature - some of the scales using only the white keys of a ethnic works; 2) nineteenth-century finest compositions in the entire piano: D-d, E-e, F-f, G-g. These scales works: most prominently, lieder; and repertoire for male chorus. Much of outline the characteristic intervallic 3) : motets, the music listed below offers con­ contour of the four primary modes. Masses, , lieder, and siderable· challenge. It is well worth Each mode has a particular sound­ of the fifteenth and six­ the effort, and in this conductor's ex­ color. This color evinces moods and teenth centuries. While composers, perience, choral music of the fif­ reflects special qualities. The affect editors, and publishers are making teenth and sixteenth centuries seems (the sound-quality-color) of each more of this music available, conduc­ to harness a male chorus' energy mode evokes immediate feelings. tors need to support their efforts and more effectively than almost any Dorian (D-d) sounds serious and has especially encourage publishers to other genre or style. Why is that? dignity; phrygian (E-e) sounds sad publish still more, and better quality and mournful; Iydian (F-f) sounds repertoire. On the Experience of Performing provocative, even erotic; by com­ Contemporary music is enjoying Renaissance Sacred Music parison, mixolydian (G-g) sounds particular interest among male­ joyful, almost exuberant. chorus conductors, and increasingly, believe the answer lies in the Every sacred composition of the not only American, but European, compositional process that shapes Renaissance was written in a mode. Slovak/Hungarian, Scandinavian, the meaning of the music of this era. Composers sought to match the af­ and Asian music is appearing on con­ A number of inherent stylistic fect of the mode to the affect of the cert programs. While folk and ethinic elements in Renaissance music strike text. That is why many Masses, and works and many nineteenth-century home. Structurally, the texture of motets with serious texts are fre­ pieces rem?lin consistently in the motets and Masses of the quently set in the dprian mode. repertories of male choruses, few Renaissance is primarily polyphonic; Laments, lamentations, , men's choruses perform Renaissance each vocal line is independent and chansons on sad texts often are music. Conductors who want to per­ (though it may imitate the others). composed in the phrygian mode. form music of this period often must The linear contours of each part are Motets and madrigals with pro­ still rely on editions and ar­ characterized by subtle, asymmetric vocative or passionate texts may ap­ rangements made for a by-gone era, units of long and short notes. To sing pear in the Iydian mode. Works with although certain publishers do offer each vocal part expressively requires more frivolous, light-weight texts are new TTBB editions of music of the thought and concentration. Shaping sometimes set in the mixolydian Renaissance. More reliable editions the independently moving melodic mode. of these compositions, however, are contours of four or more parts, while The intrinsic power of the mood of readily found in the collected works at the same time maintaining vertical each mode is extremely compelling, and historical collections of alignment through attention to and, given a sensitivity to it, students Renaissance music in university ensemble rhythm, is extremely subconsciously are drawn by that libraries throughout the country. demanding and deeply satisfying. power. Specific chord progressions Thus, performing Renaissance music inherent to each of the modes (made Marvin is Director of Choral Activities challenges the intellect and demands through the juxtaposition of chords and Senior Lecturer on Music at Harvard good musicianship; and the process built on various scale degrees) par­ University. elicits strong emotional responses. ticularly evoke that ethereal,

April 1989 Page 5 timeless quality. "Timelessness" Since there was no universal stan-_ the more difficult level above; especially is projected when one dard of pitch in the Renaissance similarly, a .. -" indicates that the vocal part contains a long-note (such as A = 440), the absolute pitch­ degree of difficulty lies between that cantus-firmus, a common structural level of performance today, in terms grade and the less difficult level device in music of the Renaissance. of "proper" pitch, can be regarded as below. a relative matter. Thus, compositions The collection. bf Renaissance Choral Music of the Renaissance for which have been transposed (up or music for male voices offered here is Men's Voices down) less than a minor-third have organized in five sections: not been acknowledged. 1) an annotated list of thirty highly Below is a list of nearly 300 All this music appears in modern recommended pieces. Renaissance compositions for men's clefs. Sources of male-voice music 2) a selected list of sacred works of voices. These are sacred and secular which present the repertoire in C the Renaissance for male voices. works drawn from the fifteenth and clefs have been consciously omitted. 3) a list of sources for this music: sixte-enth centuries, written Following each title-entry there ap­ a) collected works (opera omnia) specifically for voices the ranges of pears a number (in parentheses) b) collections (like CMM - Corpus which match the vocal confines of indicating the number of vocal parts. Mensurabilis Musicae) the modern male chorus. The majori­ Works which appear with a "+" c) editions offered by publishers ty of these works lies within an ac­ placed before the composer's name d) editions or manuscripts (MS) cessible modern TTBB range: low are highly recommended. Thirty available through the IMC (In­ bass F to high tenor G. A few pieces compositions are annotate9 by the tercollegiate Male Chorus) extend the bass range to low E (or author; they are highly recommend­ library very infrequently, D or q, and the ed and are indicated by the sign, e) editions or manuscripts con­ tenor range occasionally extends to "+ + ," placed before the composer's tained in specific collegiate high A (or very infrequently, B). name. male-chorus libraries Arrangements of SATB music do Many works are graded according 4) a selected list of secular musiC of not appear on this list. Most of the to their difficulty. D = difficult, MD the Renaissance for male voices musiC represented here is at the moderately difficult, M 5) a list of sources for this music -as original written· pitch level. Music medium, ME = moderately easy, E in number three above. which has been transposed (up or = easy. Any grade containing a .. +" For both sacred and secular music, down) a minor-third or more has after it indicates that it lies each entry is numbered so that the been designated with an asterisk. somewhere between that grade and composer-title list correlates with the list of sources; The music presented here only partially represents the vast reper­ toire of male-voice music of the Announcing a Comprehensive Renaissance. Some of the works are very challenging, some exceedingly New Resource in Responsorial simple. Much of the music is accessi­ ble as well as of good quality. Many Psalmody by HalH Hopson of the pieces are comparable to the .finest literature for men's chorus in any era. This list of sacred and secular Psalm Refrains and Tones male-voice works of the Renaissance "If you can invest in only one resource for is offered with the hope that it will responsorial psalmody, I recommend that stimulate conductors to perform this you secure this creative work of Hal H. Hopson." richly rewarding literature. That the Dr. Harold M. Daniels works listed might also encourage Associate for Liturgical Resources Presbyterian Church (USA) publishers to make more -FEATURES: Renaissance works available to con­ ductors of male choruses is also a • Psalm refrains and tones for all the psalms in the three-year Common hopeful expectation. Lectionary . Sharing with students the ex­ perience of performing a masterwork • Inclusive language for people and God by a master composer of the fifteenth • A variety of tones for either solo cantor or SATB for each psalm and sixteenth centuries is an in­ vigorating experience. The many • The psalm refrains are written in a single line to facilitate reproduction in levels of expressivity inherent in the worship bulletins compositional vocabulary of music of the Renaissance - music which Published by has the power to elicit the profound $6.95 sense of the eternal within each of 'Hope publlshlns Company 96 PAGES us - enriches all who participate in CAROL STREAM, ILLINOIS 60188 the challenge of bringing this music alive today.

PageS THE CHORAL JOURNAL Renaissance Music for Men's Chorus parts, continues the rhythmic animation and becomes almost Annotations of Thirty Selected Pieces playfully syncopated. At the text "miserere nobis" the composer Sacred borrows a startling harmonic progression from his , introducing a dark chromatic change projecting the affect of the 1. Credo: Je ne vis oncques I text. In Agnus Dei III the rhythmic animation continues until the ( 1446-1506) text "qui tollis peccata mundi," which is set with suave, A major work for low voices-the individual lines are highly undulating . triplets. These contrast expressively with the expressive and rhythmically quite independent. The Credo is preceding quick independent rhythms and with the stately divided into three sections; the middle Crucifixus (for three homophonic "dona nobis pacem" that concludes this parts) can be performed easily with a contrasting chamber magnificent work. chorus to provide variety of texture. Throughout the Credo, the While the first tenor twice ascends to high B, for the most part cantus-firmus "Je ne vis oncques" melody (derived from a Dufay the tenor I tessitura is not extreme, and the ranges of the other ) is presented in long notes in the TI part. The range of three parts are highly accessible. ' each vocal part is quite accessible. The Credo is rhythmically compelling, dramatic in nature, and highly challenging. It is about twelve minutes long.

6., Rex autem David Anonymous (early 16th century) A moving setting of the lament of David for his son, Absalom. Rex autem David is primarily homophonic with occasional points of imitation. The writing is very expressive, and the polyphonic ending is especially beautiful. Rather easy to learn, the range of each of the four vocal parts is very accessible. A lovely reflective opener or a nice filler between two rhythmiC' pieces, this motet is about one and one-half minutes in length.

25. Absalom fili mi (c. 1440-1521) A highly expressive setting of this poignant story, rather manneristic in nature. Recent research reveals that may have actually been the composer of this famous work. The range is very low (extending to low B Flat in the original); the work has been transposed up a whole step (the low "C" in bass II can be taken up an octave), but there are many low Ds. The polyphonic lines are long and contain a great deal of rhythmic interest that carries the text expressively. One of the most important works of the Renaissance for low voices, the lament of David for his son, Absalom, is about three and one- half minutes in length. .

30. Missa mater patris: Gloria and Agnus Dei Josquin des Prez (c. 1440-1521) While the entire Mass (based upon Brumel's motet, Mater patris et filia) is well worth performing, the Gloria and Agnus Dei, in particular, contain some of the most effective writing for low voices. Polyphony contrasts with homophony in a marvelous way in the Gloria. It concludes with very rhythmic and fluid polyphonic lines, dramatic homophoniddeclamatory textures, and a fast rejoicing triple meter. The Agnus Dei for five parts is highly expressive and also concludes in a rhythmically dramatic manner. The Gloria and Agnus Dei offer considerable challenge but are extremely rewarding, and the entire Mass is probably among the most well-known and often performed major works of the Renaissance.

41. Agnus Dei from Missa Ave Regina Coelorum Guillaume Dufay (1400-1475) Dufay's four-voice Missa Ave Regina Coe/orum is one of the finest polyphonic Masses of the Renaissance. Little is known about actual pitch at the time of Dufay; however, by transposing the Agnus Dei down a fourth from the written pitch, clarity of the work is still maintained while the sound is extraordinarily beautiful. For each of the three sections of the Agnus Dei (and for the other movements of the Mass as well) Dufay borrows melodic and harmonic materials from his magnificent motet, i ,. Ave Regina Coelorum, a hauntingly beautiful setting that he requested to be performed at his own funeral. ~Malmark·, Inc. Agnus Dei I is full of majesty; each voice is highly expressive, and the baritone paraphrases the Ave Regina Coelorum (chant) America's Premier Bellcraftsme(l melody in quasi cantus-firmus style. The note values quicken as Bell Crest Park, Plumsteadville, PA 18949 the final cadence approaches. Agnus Dei II, set for three vocal

April 1989 Page 7 49. Vocem meam audisti Alphonso Ferrabosco homophonic textures to project the Christmas text. The final ( 1543-1588) "Alleluia" is very strong and contains many cascades of A very beautiful motet in five parts, the Tl ascends to high A overlapping polyphonic lines leading to a jubilant cadence. It is , and the two Til parts are equal in range, containing a few high about two minutes long. Gs. Clarity of texture and great warmth of sound characterize ,this haunting work. Mostly homophonic but with many points of 75. De coelo veniet Jacob Handl independent voice writing, the harmonic progressions are (1550-1591) highly expressive and the motet has an especially beautiful end­ Handl's four-part motet is primarily polyphonic with ing. About three and one-half minutes in length. numerous brief points of imitation. A number of cascading roulades provide animation and sonorous richness for the text, 51. Lamentations of Jeremiah Alphonso Ferrabosco II which is appropriate for the Christmas season. The second-tenor (1575-1628) and baritone parts are rather equal in range and not too high, A demanding major work that is full of contrasts, multi­ though tenor I opens with an exposed octave leap to high G (the sectional with each section containing highly expressive highest note). A vivacious piece that is no more than one and harmonies projecting the text affect. To perform the entire piece one-half minutes in length. is highly challenging; however, this many-sectioned motet can be performed, in shorter units without much damage. In five vocal parts (with very high-ranged Tl and Til parts), overall the 79. Haec est dies Jacob Handl work lasts about fourteen minutes. (1550- 1591) An eight part (double chorus) motet, quite accessible, not 67. 0 gloriosa Domina difficult, containing typical contrasts of homophonic (1500-1556) declamation that project the Easter text. Joyful triple meter Very expressive independent vocal lines, a continually contrasts with duple. One of the most effective double-choir changing polyphonic texture, marked by passing cadences pieces of Handl. About one and one-half minutes in length. provide warmth and clarity of structure for this text in praise of the Virgin Mary. It is challenging to maintain vertical alignment 83. Pueri, concinite Jacob Handl with independent linear expressivity. About three minutes long, (1550-1591) this motet is useful in a program as a contrasting piece in a A peppy, vivacious opener, expressive independent lines quasi-reflective style. Other than two high As in the Tl part, all project points of imitation. Quick rhythmic configuration and vocal parts are within very easy TTBB range. It is best performed brief imitative declamation contrast with expressive down one half-step. homophony. The middle and concluding triple-meter sections contrast wonderfully with the syncopated "eja" portion. It is a 71. Ante luciferum genitus Jacob Handl very effective piece and an excellent program closer as well. (1550- 1591) Probably Handl's most effective short motet for low voices. The A good opener in five parts, the piece has very accessible motet lasts for about one and one-half minutes. The Til and Bl TTBBB vocal writing; short points of imitation alternate with parts are rather equal in range.

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PageS THE CHORAL JOURNAL 88. Cantate Domino Hans Leo Hassler a wide variety of expression. Beautiful harmonic progressions, (1564-1612) suave triplet sections, numerous vocal duets, and long linear Hassler's engaging motet (written for equal voices - men or arches offer an extremely compelling texture. One of the major women) has been known to male:chorus conductors for a long works .of the Renaissance, full of challenge though not too time. No vocal part is extreme in range, and transposed down a difficult, is well worth the effort. . major seventh by the editor to the key of F#, the composite whole sounds warm and rich. Numerous contrasts of polyphony and homophony, duple and triple meter, and changes of texture 139. Missa sine nomine: Sanctus Vicenzo Ruffo (with frequent two-voice duets) provide variety and color for this (c. 1520-1587) festive work. The motet is less than two minutes long. Cantate It is the rich five-part texture that contrasts with the beautiful Domino is a particularly attractive "opener" to the "serious side" three-voice Benedictus that provides such a beautiful setting for of a concert prograrn. this Sanctus-Osanna-Benedictus-Osanna of Ruffo. Especially in reverberant acoustics, the sound-continuum with men's voices 137. Missa pro defunctis Pierre de la Rue is haunting. Not especially difficult to learn, with all vocal aeternam (Introitus) (c. 1460-1518) ranges accessible (though rather high TI), the contrasts of Kyrie eleison homophony and polyphony with brief points of imitation Agnus Dei provide variety. The entire Sanctus is about three minutes long. These three movements are the low-voice sections of de la Rue's extraordinary Requiem setting. The edition transposes the 152. If ye love me work up a fourth; the lowest note in the bass becomes an E-Flat, (1505-1585) the highest note in Tenor I, a B-Flat. Warmth and clarity of A lovely, simple, primarily homophonic motet that is one and texture, changes from duple to triple meter, independent linear one-half minutes in length. Very warm, and nostalgic and a writing contrasted with numerous homophonic sections provide good reflective piece to be placed between two "peppy" works.

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April 1989 Page 9 155. Lamentations of Jeremiah Thomas Tallis 172. When David heard Thomas Tomkins (1505-1585) (1572-1656) Probably is the greatest major work for male voices, of the The very wide range (high B to low D with one low C) provides Renaissance. Composed in two large sections, each in a great clarity of texture. The five-part polyphonic writing offers different mqde, the two halves of the motet can be performed considerable challenge for maintaining vertical alignment while separately. Part I is probably the most rewarding but has very singing the long polyphonic lines. The poignant, lamentful text high TI, Til, and BI parts. Independent highly expressive vocal is clearly highlighted by frequent cadences overlapped with new parts contrast with poignant homophonic textures that project motives for imitation. Much use of falsetto in the TI part will be the moving text. Performed together, parts I and II take about demanded; Til ascends to G; BII is very low. This motet exists in sixteen minutes. Of all the motets of the Renaissance this work two original manuscript sources - one is for low voices and one is a "must" for male choruses of fine quality_ for mixed choir (transposed up a ninth); it is almost four minutes in length. . 156. Mass for Four Voices: Sanctus, AgnusDei Thomas Tallis ( 1505-1585) 173. Non turbetur cor vestrum Lodovico Viadana Beautiful, expressive vocal writing with many contrasts of (1564-1645) homophony and polyphony pervade the setting of the Sanctus. A peppy, rhythmic motet highly imitative and expressive, it The TIBB voice parts are exceptionally clear, the voice writing can be performed with or without continuo. A good "opener," in extending from low E to high A. For the most part, there is very three parts (TIB), it is best performed down a half-step; the clear differentiation of Til and BI parts. The Sanctus is about five tessitura for the TI part is high. A very effective piece, it is about minutes in length. The Agnus Dei is primarily homophonic, one and one-half minutes long, and not particularly difficult. slow, warm, and very effective in cathedral acoustics. Great care with tuning must be insured. 187. Regina coeli (1535-1574) 158. I (sexti toni) This is an exceptional motet for low voices. Very expressive (1495-1545) polyphonic lines move independently against a slow-moving Highly expressive polyphonic lines contrast with the baritone cantus-firmus. In five parts, it is best to divide TI and Til equally cantus-firmus line containing the sexti-toni Magnificat chant. over the top two lines since they both ascend to high G. It is The twelve verses of the Magnificat are sung in alternatum style; about three and one-half minutes in length. each alternate verse contrasts with polyphony. About fourteen minutes in length, the individual vocal parts are Secular full of expression. It is very challenging to maintain vertical alignment while singing the independent polyphonic lines. The 01. La tricotea Samartin la vea Alonso two tenor parts are rather equal in range; the polyphonic (15th century) textures alternate between three parts and four. One of the most A charming, highly rhythmic drinking song, which is very rewarding major works of the Renaissance. short in length. The work begins slowly in a quasi-melancholy

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Page 10 THE CHORAL JOURNAL style, and as the note values quicken, the texture moves from pastoral poem, set syllabically and with considerable harmonic polyphony to homophony and the piece becomes entirely color. homorhythmic. A slight accelerando provides the right atmosphere for this fun loving TBB canzonetta, about forty-five 55. Amor:2.Lamento della Ninfa seconds in length. (1567-1643) This is one of Monteverdi's miniature masterpieces - a famous 22. Du tout plongietlFors seulement lament for low voices and mezzo-soprano solo. The haunting (c. 1460-c. 1520) basso ostinato supports the three-part male-chorus lament. One of the many low-voice works of Brumel, Du tout piongiet Notes are easy to learn; the rhythm is challenging, and long is a difficult but very beautiful work. Transposed up a whole­ sustained lines require good breath control. A 'beautiful solo tone from the original, the range extends from low bass D to . alternates ,¥ith low voices which are set in contrasting high tenor B-flat. Each vocal part contains very singable lines, homophonic and contrapuntal styles. and the richness of the four-part texture provides a warm ana Lamento della Ninfa is the middle piece of a set of three enti­ compelling sonority. The Til part carries Ockeghem's chanson tled Amor. The other two outer movements are highly effective melody, Fors seuiement, in quasi cantus-firmus style; the melody pieces when performed as.a frame for the lament. In total, they itself is exceedingly beautiful. make up a mini-cantata in three contrasting movements. The Set against the independent polyphony of the other three first piece, Non havea febo ancora, is in three vocal parts and voices that project the melancholy and complementary text of contains striking dissonances, quick points of imitation, and is Du tout piongiet, the texture is rhythmically diverse and requires highly rhythmic. It lasts about one minute. The third piece, Si tra a great deal of vocal support to project the contours of the sdegnosi, is about thirty seconds long, and is entirely individual lines. Brief points of imitation, striking faux-bourdon homophonic in three parts. Continuo part sounds best with passages, and numerous phrygian cadences with major-seventh organ; and/or guitar work well also, and certainly suspensions offer considerable contrast in sonority. The final is not inappropriate. measures of the chanson are especially beautiful as the ascend­ I ing vocal parts usher this poignant chanson to a dramatic close. 74. Porquoy non Pierre de la Rue Du tout piongietlFors seuiement is about three and one-half (1460-1518) minutes in length. A lovely four-part sad love song, the work is very low in range (low D in bass), is primarily homophonic, and is very expressive. 33. Las il n'a nui mal Vincent DeBussy The long lines are challenging to sustain; interest lies primarily (c. 1553-1583) with the very rich texture and harmonic color. A very lovely four-part setting of a sad love song, the chanson alternates between imitative polyphony and expressive 84. Imitatione del Venetiano Orazio Vecchi homophony. Good TTBB ranges throughout, but TI has a rather (1550-1605) high tessitura. The work can easily be performed down a half- . Great fun - this is a humorous setting of an Italian love-song in step. It is very reflective piece, not difficult, and about three and stuttering Venetian dialect, very cute, very short, very fast, and one-half minutes long. rhythmic. In three vocal parts, this entertaining piece. is not difficult, though there is plenty of challenge rhythmically. A 36. Mi libertad en sosiego Juan del Ensina sudden ending makes this a real crowd-pleaser. About forty-five (c. 1468~1530) seconds long. Almost entirely homophonic, the harmonic palette and passing dissonances "sound Spanish" and provide rich color. 86. Quando penso Orazio Vecchi Transposed down a fourth from the original, the four-part (1550-1605) textur.e explores the full range of the male chorus: low bass E to This is a delightful Giustiniana, full of humor, and quick­ high tenor A. With occasional quick-passing eighth-notes, this moving notes. The challenge is in precision of-rhythm and enchanting villancico moves slowly and with dignity. It is easy to diction (italian), though overall this three-part is not learn though challenging vocally, requiring continuous support difficult. Primarily homophonic, with a brief contrast of triple to, project the long lines. Lasting about cine minute, the work meter (from duple), this excerpt of about forty seconds in length can be done da capo with three verses to provide greater length. from one of Vecchi's madrigal comedies is a "rouser," and The middle verse might be sung by a quartet or chamber chorus provides fun contrast between slower pieces or as a startling for contrast. Good tuning will be important to project this opener.

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April 1989 Page 11 Renaissance Music for Men's Chorus First Presbyterian Church of Sacred Music Winter Haven, Florida, is interested in developing a music program under + + 1. Agricola, Alexander Credo: Je ne vis oncques I (3,4) MD the direction of a fulltime organist~ Missa (3,4) Kyrie, Gloria, Credo, choir director. We have a congrega· 2. de Alba, Alonso tion of 1,200 members and a Moeller Sanctus, Agnus Dei organ with three manuals and forty· 3. Anonymous Beata Dei genitrix two ranks. 4. Anonymous If Ye be risen again Please address all replies to: 5. Anonymous Pray we to God (3) Music Search Committee + + 6. Anonymous Rex autem David (4) ME First Presbyterian Church + 7. Arcadelt, Jacob Lamentations of Jeremiah (3,4,5) M+ P.O. Box 911 8. Asola, Giovanni Mateo In die pentecostes (3) Winter Haven, FL 33882·0911 9. Asola, Giovanni Mateo In festis St. Crucis (4) + 10. Brumel, Antoine Ave, ancilla trinitatis (3) MD 11. Brumel, Antoine Heth, cogitavit Dominus (4) 12. Brumel, Antoine Magnificat (2,3) MD + 13. Brumel, Antoine Mater patris et filia (3) ME+ + 14. Brumel, Antoine Missa Je nay dreul Agnus Dei (4) MD + 15. Brumel, Antoine o Domine Jesu Christe (4) 16. Brumel, Antoine Quaeest isa·et sicut dies (4) + 17. Brumel, Antoine Sub tuum praesidium (4) M t~merican 18. des Buissons, Michael Verbum caro factum est (5) 19. Byrd, William *Be unto me, 0 Lord, a tower (4) 20. Byrd, William Ecce advenit (4) BoY,chofr + 21. Byrd, William Lamentations of Jeremiah (5) D + 22. Byrd, William * Mass for 3 voices (3) Kyrie, Gloria, .School Credo, Sanctus, Agnus Dei M+ 23. Byrd, William Similis iIIis fiant (4) 24. Cabezon, Antonio Jesu Christe, hombre y Dios (4) • Superb academic preparation + + 25. des Prez, Josquin Absalom, fili mi (4) • Unmatched musical training + 26. des Prez, Josquin Alma redemptoris Mater (4) M+ A Non-Sectarian Boarding + 27. des Prez, Josquin * Deploracion sur la MD and Day School for Boys morte d'Ockeghem (5) + 28. des Prez, Josquin Domine, ne in furore (4) M+ Grades Three Through Eight + 29. des Prez, Josquin Ecce, tu pulchra es, arnica mea M+ + + 30. des Prez, Josquin Missamater patris (3,4,5) Kyrie, + + Gloria, Credo, + + Sanctus, Agnus Dei MD·MD 31. des Prez, Josquin o Domine Jesu Christe (4) 32. des Prez, Josquin *Recordare, virgo Mater (4) 33. des Prez, Josquin Sancta Mater, istud agas (4) + .34. des Prez, Josquin *Tu pauperum refugium (4) M· 35. Dering, Richard Cease thy affection 36. Donati, Ignazio Non vos rellnquam orphan os (3) +37. Dufay, Guillaume Anima mea IIquefacta est (3) MD· 38. Dufay, Guillaume Gloria in excelsis Deo (3) M· 39. Dufay, Guillaume In festo SS, Petri et Pauli 40. Dufay, Guillaume In nativitate St. Johannes Baptistae(s) (3) + + 41. Dufay, Guillaume Missa Ave Regina Coelorum, Agnus Dei (4) MD 42. Dufay, Guillaume Nobis datus, nobis natus ~~. 43. Dufay, Guillaume Nova veniens e coelo(3) 44. Dunstable, John Gaude felix Anna (3) M· ALBEMARLE 45. Dunstable, John * Magnificat secundi toni (3) Coed Summer Music Camp of + 46. Dunstable, John Quam pulchra es (3) M· The American Boychoir School + 47. Dunstable, John *Veni, Sancte Spiritus (3) + 48. Fayrfax, Robert Ave lumen gratiae (4) D· Boys & Girls 7-14 + + 49. Ferrabosco I, Alphonso Vocem meam audisti (5) MD· Session I: June 2S-July 8 50. Ferrabosco, II, Alphonso Feuerunt mihi lacrimae (4) + + 51. Ferrabosco II, Alphonso . Lamentations of Jeremiah (5) Session II: July 9-22 52. Festa, Costanzo In vincula (4) Choral • Instrumental • Orff 53. Fevin, Antoine Domine Jesu Christe (4) Swimming • Arts & Crafts + 54. Finck, Heinrich Petre, amas me? (5) MD· 55. Franck, Melchior o Domine Jesu (4) For information: 56. Franco, Fernando Et Jesum benedictum (3) Director of Admissions 57. Gabriell, Andrea Perche Madonna (3) The American Boychoir School 58. Gabriell, Giovanni Attendite (8) MD 19 Lambert Drive, Princeton, NJ 08540 59. Gabriell, Giovanni *Exaudi Deus (7) MD· (609) 924-5858 60. Gabriell, Giovanni *0 gloriosa virgo (12) 61. Gabriell, Giovanni Surrexit Christus (3) Page 12 THE CHORAL JOURNAL \ 62. Genet, Elzear Alma redemptoris Mate~ (4) M + 63. Genet, Elzear Genuit Puerpera (3) 64. Genet, Elzear Lamentations of Jeremiah (2,4) M + + 65. Genet, Elzear Regina coeli (4) M + + 66. Genet, Elzear Virgo prudentissima (4) M + + + 67. Gombert, Nicolas o Gloriosa Domina (4) M+ 68. Gombert, Nicolas Regina coeli (4) 69. Gombert, Nicolas San eta Maria (4) 70. Gombert, Nicolas Vae, Vae (4) + + 71. Handl, Jacob (Gallus) * Ante luciferum genitus M + 72. Handl, Jacob Ascendit Deus (5) M + + 73. Handl, Jacob Canite tuba (5) 74. Handl, Jacob * Confirma hoc, Deus + + 75. Handl, Jacob De coelo veniet (4) M 76. Handl, Jacob De sancta et individua trinitate (6) 77. Handl, Jacob * Ecce, quomodo moritur 78. Handl, Jacob Gloria tibi, Trinitas (5) + + 79. Handl, Jacob' Haec est dies (8-double chorus) M- 80. Handl, Jacob *Haec est vera fraternitas (8-double chorus) Elegant 81. Handl, Jacob o beata trinitas (8-double chorus) + 82. Handl, Jacob o magnum mysterium (8-double Choir &. Pulpit Robes chorus) M+ + + 83. Handl, Jacob *Pueri, concinite (4) M FREE Full-Color Portfolio 84. Handl, Jacob Qui manducat (5) 85. Handl, Jacob *Regnum, mundi (4) + 86. Handl, Jacob *Replenti sunt omnes (8-double chorus) M+ 87. Handl, Jacob *Responsorium sepulto Domino + + 88. Hassler, Hans Leo *Cantate Domino (4) 89. Hassler, Hans Leo Domine Deus (4) M 90. Hassler, Hans Leo Gratias agimus tibi (4) + 91. Hassler, Hans Leo Laetentur coeli (4) M 92. de Kerle, Jacob Missa regina coeli (3,4,5) Kyrie, One Harmony Place Gloria, Credo, Sanctus, Benedictus, New London, Ohio 44851 Agnus Dei MD- 93. di Lasso, Orlando Ipsate cogat pietas (2) ME 94. di Lasso, Orlando Psalm CXI (2,3,4,5) + 95. di Lasso, Orlando Sibylla Europaea (4) MD- + 96. di Lasso, Orlando Sibylla Tiburtina (4) MD- 97. Lechner, Leonard o quam suavis est (4) 98. Monteverdi, Claudio * Angelus ad pastores (3) 99. Monteverdi, Claudio Christe redemptor omnium(3) I 100. Monteverdi, Claudio *Crucifixus (4) 101. Monteverdi, Claudio Deus tuorum militum (3) NEED 102. Monteverdi, Claudio Hodie Christus natus est (3) 103. Morales, Cristobal Missus est Gabriel (4) 12 COPIES + 104. Mouton, Jean Pecatta mea, Domine (5) MD 105. Mouton, Jean Tota pulchra es (8) Of Our Performance 106. Mundy, William He that hath my commandments (4) 107. Mundy, William Let us now laud (4) Before My Choir + 108. Ockeghem, Johannes Intemerata Dei mater (5) D Leaves For The + 109. Ockeghem, Johannes Missa Mimi: Agnus Dei (3,4) D- 110. da Palestrina, Giovanni Confitemini domino (4) Summer 111. da Palestrina, Giovanni Gloriosi principes terrae (4) 112. da Palestrina, Giovanni Jerusalem, convertere ad Dominum (5) 113. da Palestrina, Giovanni lod magnum suam misit (5) + 114. da Palestrina, Giovanni *Lamentations of Jeremiah (4) MD- 115. da Palestrina, Giovanni Lectio II Feria VI in parasceve (Lamentations of Jeremiah) (4) • 116. da Palestrina, Giovanni Lectio II sabatto sando (Lamentations of Jeremiah) (4) 117. da Palestrina, Giovanni *0 bone Jesu (4) 118. da Palestrina, Giovanni *0 Domine Jesu Christe (4) 119. da Palestrina, Giovanni o vos omnes (4) BAUER AUDIO 120. da Palestrina, Giovanni * Supplicationes (4) 121. da Palestrina, Giovanni Surrexit pastor bonus (4) 1 (800) 627-7277 122. Parsley, Osbert Lamentations of Jeremiah (5) MD- 123. Porta, Costanzo Aspiciens a longe (4) M + 124. Porta, Costanzo Aufer a nobis iniquitates (4) 125. Porta, Cqstanzo Ave maris stella (3,4,5)

April 1989 Page 13 126. Porta, Costanzo Regina coeli (4) 127. Porta, Costanzo Sub tuum praesidium (4) ACDA 128. Praetorius, Michael Ein feste burg (3) 129. Praetorius, Michael Vom himmel hoch (3) PUBLICATIONS 130. Prioris, Johannes Regina coeli (4) 131. Refinarius, Balthasar Wir glauben alles an einen Gott (4) AVAILABLE FROM THE + 132. de Rore, Cipriano Missa vous ne l'aurez (4,5,6) + Kyrie, NATIONAL HEADQUARTERS Gloria, Credo, Sanctus, Agnus Dei MD MONOGRAPH No.1 133. de Rore, Cipriano Quantimercenari-pater peccavi (5) The GUIDE FOR THE BEGINNING 134. de Rore, Cipriano Sub tuum praesidium (4) CHORAL DIRECTOR was prepared by the 135. Rossi, Salamone Al naharot bavel (4) M National Committee on High School + 136. da la Rue, Pierre Missa conceptio tua + Kyrie, (5) Choral Music (1972), Gordon H. Lamb, Gloria, Credo, Sanctus, Agnus Dei, MD+ Chair, to provide guidance of a practical + + 137. de la Rue, Pierre *Missa pro defunctis (3,4,5,6) nature to the college senior, the beginn­ + + Requiem aeternam, + + Kyrie ing choral director. The information is to eleison, + + Agnus Dei, + + Lux be supplementary to the course work a aeterna, MD student may have completed or to their 138. Ruffo, Vicenzo * Adoramus te, Christe other choral experiences. + + 139. Ruffo, Vicenzo Missa sine nomine (3,4,5) Kyrie, MONOGRAPH No.2 Gloria, Credo, + + Sanctus, Agnus AN ANNOTATED INVENTORY OF Dei, MD- DISTINCTIVE CHORAL LITERATURE 140. de Sermisy, Claudin Lamentations of Jeremiah (4) FOR PERFORMANCE AT THE HIGH 141. de Sermisy, Claudin Missa pro defunctis (4) Introitus, SCHOOL LEVEL, by Margaret Hawkins, is Kyrie, Graduale, Offertorium, designed as a useful supplement to the Sanctus, Agnus Dei, Communio, M+ choral director's own knowledge of 142. de Sermisy, Claud in Missa tota pulchra es (2,3,4) Kyrie, choral repertoire. The publication is con­ Gloria, Credo, Sanctus, Agnus Dei, M+ cerned primarily with literature for the + 143. Shepherd, John Alleluia/confitemini Domino (4) MD- mixed choir. 144. Shepherd, John Christ rising again (4) MONOGRAPH No.3 145. Shepherd,John Mass: Be not afraid (3,4) Gloria, THE CHORAL JOURNAL: AN INDEX TO Credo, Sanctus, Agnus Dei VOLUMES 1-18, by Gordon Paine, is an 146. Shepherd, John Spiritus sanctus procedens a throno important source of information on nearly (5) every topic of concern to the profession. 147. Shepherd, John Submit yourselves (4) It is the hope of the author that it will 148. Tallis, Thomas Blessed be the Lord (4) make The Choral Journal more accessi­ 149. Tallis, Thomas Heare the voyce and prayer (4) ble to researchers. 150. Tallis, Thomas Hic nempe mundi gaudia (5) MONOGRAPH No.4 151. Tallis, Thomas *Hodie (first respond, Matins, Christmas Day) A CLASSIFIED, ANNOTATED + + 152. Tallis, Thomas If ye love me? (4) ME BIBLIOGRAPHY OF ARTICLES RELATED Tallis, Thomas lllae dum perguntconcitae (5) TO CHORAL MUSIC IN FIVE MAJOR 153. PERIODICALS THROUGH 1980, edited by + 154. Tallis, Thomas In ieiunio et fletu (5) MD Lynn Whitten, was compiled as a source + + 155. Tallis, Thomas Lamentations of Jeremiah (5) MD+ of data retrieval for choral conductors + + 156. Tallis, Thomas Mass for 4 Voices (4) + Gloria, seeking to strengthen their rehearsal and Credo, + + Sanctus, + Agnus Dei, MD performance routines in stimulating and + 157. Taverner, John Dum transisset sabbatum (4) MD scholarly ways. This volume contains an­ + + 158. Taverner, John Magnificat I (sexti toni) (3,4) MD notation of articles for the following five 159. Taverner, John Mass playn song (4) Gloria, Credo, major periodicals: The American Choral Sanctus,Benedictus, Agnus Dei Review, , The Journal of the 160. Taverner, John Prudens virgo (3) American Musicological Society, Music and Letters, and The Musical Quarterly. + 161. Taverner, John Te Deum (5) MD+ 162. Taverner, John Tu ad liberandum (3) 163. Taverner, John Virgo pura (3) Mail Orders To: The Choral Journal, P.O. + 164. Tinctoris, Joannes Missa 3 vocum (3) + Kyrie, Gloria, Box 6310, Lawton, OK 73506 Credo, Sanctus, Agnus Dei, MD Quantity 165. Tomkins, Thomas Give ear (4) 166. Tomkins, Thomas *Have mercy upon me, 0 Lord Monograph No. 1 ($3.50) + 167. Tomkins, Thomas Hear my prayer, 0 Lord (4) Monograph No.2 ($3.50) 168. Tomkins; Thomas My voice shalt Thou hear (4) Monograph No.3 ($4.75) 169. Tomkins, Thomas o give thanks unto the Lord + 170. Tomkins, Thomas o Lord how manifold are Thy works Monograph No.4 ($7.50) (4) , MD­ rom: + 171. Tomkins, Thomas The heavens declare the glory of God (4) . MD­ (Name) + + 172. Tomkins, Thomas When David heard (5) MD+ + + 173. Viadana, Lodovico Non turbetur cor vestrum (4) M- (Address) 174. Viadana, Lodovico o Sacrum convivium (4) M- 175. de Victoria, Tomas Luis Domine, non sum dignus (4) (City) (State) (Zip) 176. de Victoria, Tomas Luis * Judas, mercator pessimus (4) M + 177. de Victoria, Tomas Luis Magnificat (sexti toni) (3,4,5) M+ MAKE CHECKS PAYABLE TO de Victoria, Tomas Luis *0 my God, I am not worthy (4) THE CHORAL JOURNAL 178. + 179. de Victoria, Tomas Luis o regem coeli M+ Page 14 THE CHORAL JOURNAL 180. de Victoria, Tomas Luis o sacrum convivium 181. de Victoria, Tomas Luis *0 vos omnes (4) M + "The standards and discipline 182. Walther, Johann Jesus Christus, ·unser Heiland (3) imposed upon members of the 183. Walther, Johann Nu freut euch, lieben Christen ge- Texas Boys Choir through the mein (4) early years by founder-director 184. Walther, Johann Q~i musicam colunt (5) George Bragg, and the results 185. Walther, Johann Regnum Mundi (4) achieved. are now a matter of 186. Walther, Johann Vater unser, aufbergreihenweise (4) legend:' + + 187. White, Robert Regina coeli (:J) MD © Leonard Sanders in Texas Noon, 188. Willaert, Adrian Ad te Domine (4) Delacorte Press. January 1989. + 189. Willaert, Adrian Aspice Domine-Plorans ploravit in nocte (5) MD + 190. Willaert, Adrian Confitebor tibi Domine (4) George Bragg 191. Willaert, Adrian Domine Jesu Christe (4) 192. Willaert, Adrian Domine, quid multiplicati sunt (4) CHORAL CONSULTANT 193. Willaert, Adrian Misere Nostri Deus omnium (5) Now available to train you 194. Willaert, Adrian Recordare Domine (4) 195. Willaert, Adrian Regina coeli (4) and your group: 196. Willaert, Adrian Sub tuum praesidium confugimus (5) • Step-by-step vocal technique 197. Willaert, Adrian Sustinuimus pacem (5) + 198. Zarlino, Gioseffo Ecce iam venit plenitudo (4) M + • Voice-building • Organiz;ational structuring • Choral concepts Sacred Sources • Preparation of perfonnance 1. Oxford University Press, ed. Jameson Marvin. literature 2. Monumenta Musica Espanola, vol. I. 3. Das Erbe Deutscher Musik, Werke VIII. For your next move toward vocal 4. Oxford University Press, Anthems for Men's Voices, vol. II. excellence, enhance the quality 5. Musica Britanica, vol. XVIII. of your vocal work by consulting 6. Oxford University Press, ed. Jameson Marvin. GEORGE BRAGG 7. edited by F. John Adams for the Harvard Glee Club (in manuscript). 2613 Benbrook Blvd. 8. Monumenta Musica Espanola Fort Worth, TX 76109 9. Monumenta Musica Espanola Phone (817) 924-3059 10. edited for the Harvard Glee Club (in manuscript). 11. edited for the Harvard Glee Club (in manuscript). 12. CMM, Antoine Brumel. 13. G. Schirmer, Inc., ed. F. John Adams. 14. CMM, Antoine Brumel. 15. G. Schirmer, Inc., ed. F. John Adams. CONSORT 16. edited by F. John Adams for the Harvard Glee Club (in manuscript). 17. G. Schirmer's Choral Church Music for Men's Voices #12143, G. Schirmer, PRESS Inc., ed. F. John Adams. )8. Thesauri Musici, vol. XI, Doblinger, ed. Walter Pass. . proudly publishes 19. Oxford University Press, Anthems for Men's Voices, vol. I. the music of 20. Oxford University Press, Anthems for Men's Voices, vol. I. 21. Tudor English Church Music, 22 Anthems, vol. III, Edwin F. Kalmus. JOHN BIGGSHI 22. Stainer and Bell. Composer of 23. Tudor English Church Music, 22 Anthems, vol. III, Edwin F. Kalmus. 24. edited by Robert Cutler for the Lehigh University Glee Club (in manuscript). AUCTION CRIES . 25. Broude Bros., Ltd., ed. Jameson Marvin. .TRAIN 26. edited by F. John Adams for the Harvard Glee Club (in manuscript). 27. edited by Steven Sametz for the Harvard Glee Club (in manuscript). PAUL REVERE'S RIDE 28. G. Schirmer, Inc., ed. F. John Adams. AMERICAN FOLK SONG 29. edited by Peter Urquhart for the Harvard Glee Club (in manuscript). SUITE 30. G. Schirmer, Inc., ed. Elliot Forbes. 31. edited by F. John Adams for the Harvard Glee Club (in manuscript). CANTICLE OF LIFE 32. Opera Omnia of des Prez, ed. Smijers. JAPANESE FABLES 33. Opera Omnia of des Prez, ed. Smijers. CALIFORNIA 34. edited for the Harvard Glee Club (in manuscript). 35. edited for the Harvard Glee Club (in manuscript). MISSION MUSIC 36. Oxford University Press, Anthems for Men's Voices. and many more. 37. Opera Omnia of Dufay. 38. CMM, Guillaume Dufay. For a catalog, write or phone: 39. Dufay Hymns, Das Chorwerk, vol. 49. 40. Dufay Hymns, Das Chorwerk, vol. 49. 41. CMM, Guillaume Dufay; Agnus Dei edited by Jameson ~~ Marvin for the Harvard Glee Club. Box 50413 42. Dufay Hymns, Das Chorwerk, vol. 49. 43. Dufay Hymns, Das Chorwerk, vol. 49. Santa Barbara CA 93150 44. Musica Britanica, vol. VIII. 8051969-1138 45. Eulenberg, ed. Andras Pernye.

April 1989 Page 15 46. The Choral Tradition Series, #HMC-246, Hinshaw 67. Oxford University Press, ed. Jameson Marvin. Music Inc., ed. Dennis Shrock. 68. edited by F. John Adams for the Harvard Glee Club (in 47. Oxford University Press, Anthems for Men's Voices, manuscript). vol. II. 69. CMM, Nicolas Gombert. 48. Fayrfax Works, vol. II. 70. edited by F. John Adams for the Harvard Glee Club (in 49. Oxford University Press, Anthems for Men's Voices, manuscript). vol. I. 7l. Oxford University Press, Anthems for Men's Voices, 50. Oxford University Press, Anthems for Men's Voices, vol. I. vol. II. 72. edited by Carl Zytowski for the University of California 5l. Oxford University Press, Anthems for Men's Voices, at Santa Barbara Men's Chorus (in manuscript). vol. I. 73. edited for the Lehigh University Glee Club (in 52. edited for the Harvard Glee Club (in manuscript). manuscript). 53. edited by F. John Adams for the Harvard Glee Club (in 74. Concordia Publishing House, ed. Mason Martens. manuscript). 75. Oxford University Press, Anthems for Men's Voices, 54. Das Erber Deutscher Musik, Werke II, Finck, vol. 70. vol. II. 55. Serie: Barok, World Library of Music. 76. edited for the Harvard Glee Club (in manuscript). 56. edited for the Harvard Glee Club (i.n manuscript). 77. available through IMC Library. 57. CMM, . 78. edited for the Lehigh University Glee Club (in 58. Opera Omnia of Gabrieli. manuscript).. 59. edited by Hewitt Pantaleoni for the Harvard Glee Club 79. Opera Omnia of Handl. (in manuscript). 80. Opera Omnia of Handl. 60. edited for the Harvard Glee Club (in manuscript). 8l. Opera Omnia of Handl. 6l. from Symphoniae Sacrae, Concordia Publishing 82. The University Singers #7539, J. Fischer and Brothers: House, ed. Hewitt Panteleoni. 83. edited for the Lehigh University Glee' Club (in 62. edited by Jameson Marvin for the Harvard Glee Club manuscript). (in manuscript). 84. edited for the Lehigh University Glee Club (in 63. edited by F. John Adams for the Harvard Glee Club (in manuscript). manuscript). 85. Dessoff Choir Series #MC33, Mercury Music Corp., ed. 64. edited by F. John Adams for the Harvard Glee Club (in Paul Boepple. manuscript). 86. Dessoff Choir Series #MC31, Music Press; Inc.,ed. 65. edited by F. John Adams for the Harvard Glee Club (in Paul Boepple. manuscript). 87. available through IMC Library. 66. edited by F. John Adams for the Harvard Glee Club (in 88. #88, E. C. Schirmer Music Co. manuscript). 89. Concordia Choral Series #98·1341, Concordia

• • • • • • • • • • • • • • MID-ATLANTIC & SOUTHEASTERN • • • • • • • • • • • • • • JULY 5-9, 1989 LAFAYETTE COLLEGE Easton, Pennsylvania AUGUST 2·5, 1989 NORTH GEORGIA COLLEGE it~ Dahlonega, Georgia ~ I ~~ __• I ~ _- * ALL NEW AND EXCITING FORMAT * SEPARATE DIRECTOR I fJ'?-'i:.~'" _- & STUDENT SESSIONS * SPEND A WEEK WITH PROFESSIONAL VOCAL '«()'?-~~\()t0'i:. ."...... - I \~'«(Jt c,()~'i' ~~() ."...... & DANCE CLINICIANS * GRADUATE CREDITS AVAILABLE FOR DIRECTORS $S ()'?-~ , * EXPERIENCE A WEEK OF SONG &DANCE * DEVELOP THAT SPECIAL 'i'\,;.<,:~s ~ ~ W'ile\\S ~~'\'O I ~\>l G' ~09 \'~ ~ TOUCH * HAVE A MUSICAL EXPERIENCE YOU WILL NEVER FORGET I ~G"$·6ilO·~~s\j~\..'i:..e1Ao ~ G&.\ R>\JS fl.'¥" FEATURING THE 1989 MID·ATLANTIC I -10 ~ \:;()'S/1>oO''5 & SOUTHEASTERN SHOW CHOIR STAFF: * ",pi-~~f. "' SALLY ALBRECHT Student Clinician & Special Director Sessions fIJ ~, ,\, ~'II RICK AUGUSTINE Clinician & Reading Sessions ...... DAVID RILEY Music Director ...... '91"'" JERRY NOWAK Arranger & Director ...... '91"'" DAVID BARNETT Music Director & Vocal Techniques ...... '91"'" DON BESIG Music Arranger, Composer· Director ...... '91"'" GREG GILPIN Choreography Sessions ...... '91"'" ~~~'i:. S LEE WHITMORE Electronic Musician Accompanist '91"'" ~\:;\:;,?-'i:.S JAY ALTHOUSE Composer & Arranger _ _ ---_. c,0 . Page 16 THE CHORAL JOURNAL Publishing House, ed. Peter Gram Swing. 109. edited for the Harvard Glee Club by Jameson Marvin. 90. Concordia Choral Series #98-1342, Concordia 110. edited for the Harvard Glee Club (in manuscript). Publishing House, ed. Peter Gram Swing. 111. Opera Omnia of Palestrina. 91. Concordia Choral Series #98-1343, Concordia 112. Oxford University Press, Anthems for Men's Voices, Publishing House, ed. Peter Gram Swing. vol. I. 92. edited by F. John Adams for the Harvard Glee Club (in 113. Opera Omnia of Palestrina. manuscript). 114. edited by John Biggs for the Harvard Glee Club (in 93. edited by Jameson Marvin for the Harvard Glee Club manuscript). (in manuscript). 115. Opera Omnia of Palestrina. 94. edited for the Harvard Glee Club (in manuscript). 116. Opera Omnia of Palestrina. 95. edited by F. John Adams for the Harvard Glee Club (in 117. available through IMC Library. manuscript). 118. available through IMC Library. 96. edited by F. John Adams for the Harvard Glee Club (in 119. Oxford University Press, Anthems for Men's Voices, manuscript). vol. II. 97. edited by Truman Bullett for the Harvard Glee Club (in 120. Harvard-Radcliffe Choral Music (OCT 9798), G. manuscript). Schirmer, Inc., ed. G. Wallace Wordsworth. 98. Dessoff Choir Series #12, Music Press, Inc., ed. Paul 121. Opera Omnia of Palestrina. Boepple. 122. Tudor English Church Music, Lamentationes, Edwin F. 99. Opera Omnia of Monteverdi, ed. Malapiero. Kalmus. 100. available through IMC Library. 123. Opera Omnia of Porta. 101. Oxford University Press; ed. Roger Norrington. 124. Opera Omnia of Porta. 102. Dessoff Choir Series #16, Music Press, Inc., ed. Paul 125. Opera Omnia of Porta, Antiphons, Hymns, Boepple. , Masses, vol. XXV. 103. Monumenta Musica Espanola, vol. XIII. 126. edited by F. John Adams for the Harvard Glee Club (in 104. edited by F. John Adams for the Harvard Glee Club (in manuscript). manuscript). 127. Opera Omnia of Porta. 105. edited by F. John Adams for the Harvard Glee Club (in 128. Oxford University Press, Anthems for Men's Voices, manuscript). vol. II. 106. Oxford University Press, Anthems for Men's Voices, 129. Oxford University Press, Anthems for Men's Voices, vol. I. vol. II. 107. Oxford University Press, Anthems for Men's Voices, 130. edited by F. John Adams for the Harvard Glee Club (in vol. I. manuscript). 108. Allniederlandische, Motteten von J. Ockeghem, 131. Das Erbe Deutscher Music. Barenreiter edition, ed. Besseler. 132. CMM, . ************************************************************************* *.* MUSIC UNUMITED SUMMER SESSIONS FOR 1989 * t Featuring Some of the World's Leading Clinicians t * * Sally Albrecht * Randy Ellefson * Andy Haines * John Rutter * * * Paul Almjeld * Roger Emerson * Shirley Harden * Paul Salamunovich * * * Don Besig * Lowell Everson * Mac Huff * Andrew Smith * * * Bill Busch * Scott Foss * Terry Kirkland * Audrey Snyder * * * Eugene Buder * Audrey Grier * Gilbert M. Martin * Unda Spevacek *' *' * Ron DeRoo * Gene Grier * Louis Rossman * Douglas E. Wagner *' t One Week Popular Choral Music and Choreography Symposiums . t *'* JUNE 11-16, 1989 JUNE 18-23, 1989 JUNE 25-30, 1989 JULY 23-28, 1989 *' *' Moorhead State University Morningside College Lakeland College Whitworth College *' *' Moorhead, Minnesota Sioux City, Iowa Sheboygan, Wisconsin Spokane, Washington * t New Sacred Choral Music Reading Sessions t * SATURDA Y, JUNE 24, 1989 SATURDA Y, JULY 1, 1989 FRI.-SAT., JULY 7-8, 1989 SATURDAY, JULY 29, 1989 *' * Morningside College Lakeland College Christ Church Cranbrook Whitworth College *' * Sioux City, Iowa Sheboygan; Wisconsin Bloomfield Hills, Michigan Spokane, Washington * ~ New Handbell Music Reading Serslons ~ * FRIDAY, JUNE 23,1989 FRIDAY, JUNE 30,1989 FRIDAY, JULY 7, 1989 FRIDAY, JULY 28, 1989 *' * Morningside College Lakeland College Christ Church Cranbrook Whitworth College *' * Sioux City, Iowa Sheboygan, Wisconsin Bloomfield HIlls, Michigan Spokane, Washington *' ~ VanderCook College One Week Symposiums ~ * JULY 10-14, 1989 JULY 10-14, 1989 JULY 17-21, 1989 JULY 17-21, 1989 * * High School Choral Music Sacred Choral Music Elem./Jr. High Choral Music Handbell Music *' * Chicago, Illinois Chicago, Illinois Chicago, Illinois Chicago, Illinois *

*~ FOR MORE INFORMATION CONCERNING CLINICIANS, CREDIT, REGISTRATION, HOUSING AND MEALS, CONTACT: *'~ [ MUSIC UNLIMITED • P.O. Box 16469 .. . Clarkston, Michigan 48016 • (313) 625-7057 t ****'*'*'****'*'*****'*'**'*********'**********'**'***'****'*'*'***'********'**********'*'*'*' April 1989 Page 17· 133. CMM, Cipriano de Rore. 165. edited by Jameson Marvin for the Harvard Glee Club 134. CMM, Cipriano de Rore. (in manuscript). 135. #CC-24, Broude Bros., Ltd., ed. Joshua Jacobson. 166. Oxford University Press, Anthems for Men's Voices, 136. Opera Omnia of de la Rue (in original clefs) except vol. I. Kyrie-IMC Publications, ed. Jameson Marvin. 167. Oxford University Press, Anthems for Men's Voices, 137. Das Chorwerk, vol. XI. vol. II. 138. available through IMC Library. 168. Oxford University Press, Anthems for Men's Voices, 139. World Library of Sacred Music. vol. II. 140. edited by F. John Adams for the Harvard Glee Club (in 169. Tudor Church Music, Oxford University Press. manuscript). 170. edited for the Lehigh University Glee Club (in 141. edited by F. John Adams for the Harvard Glee Club (in manuscript). manuscript). 171. Concordia Choral Series #1432, Concordia Publishing 142. edited by F. John Adams for the Harvard Glee Club (in House, ed. Denis Stevens. manuscript). 172. edited by Steven Sametz for the Harvard Glee Club (in 143. Early English Church Music, vol. XVII. manuscript). 144. Oxford University Press, Anthems for Men's Voices, 173. Oxford University Press, ed. Jameson Marvin. vol. II. 174. #98, E. C. Schirmer Music Co., ed. Archibald T. 145. Early English Church Music. Davison. 146. Early English Church Music, vol. XVII. 175. Services and Anthems for Men's Voices #MV131, 147. Oxford University Press, Anthems for Men's Voices, Novello and Co., Ltd. vol. I. 176. Brodt Music Co., ed. Donald Plott. 148. New York Pro Musica Series, Associated Music 177. edited for the Harvard Glee Club (in manuscript). Publishing, Inc., ed. Walter Collins. 178. Services and Anthems for Men's Voices #17933, 149. edited by F. John Adams for the Harvard Glee Club (in Novello and Co., ed. Bernard Rainbow. maruscript). 179. edited by Truman Bullett for the Harvard Glee Club (in 150. Tudor English Church Music, 15 Anthems, vol. I, Ed- manuscript). win F .. KalmLs. 180. Oxford Anthems #A-232, Oxford University Press, ed. 151. edited by Steven Sametz for the Harvard Glee Club (in Nicholas Temperley. manuscript). 181. Edited for the Harvard Glee Club (in manuscript). 152. edited by Steven Sametz for the Harvard Glee Club (in ' 182. Das Erbe Deutscher Musik. manuscript). 183. Das Erbe Deutscher Musik. 153. Tudor English Church Music, 16 Cantiones Sacrae, 184. Das Erbe Deutscher Musik. vol. I, Edwin F. Kalmus. 185. Das Erbe Deutscher Musik. 154. Tudor English Church Music, 16 Cantiones Sacrae, 186. Das Erbe Deutscher Musik. vol. I, Edwin F. Kalmus. 187. edited by F. John Adams for the Harvard Glee Club (in 155. Oxford University Press, ed. Phillip Brett. manuscript). 156. Oxford University Press. 188. Opera Omnia of Willaert. 157. Tudor English Church Music, 5 Anthems, Edwin F. 189. CMM (Musica Nova), . Kalmus. 190. Opera Omnia of Willaert. 158. Tudor English Church Music, 3 Magnificats, Edwin F. 191. Opera Omnia of Willaert. Kalmus. 192. Opera Omnia of Willaert. 159. Early English Church Music. 193. Opera Omnia of Willaert. 160. Musica Britanica. 194. Opera Omnia of Willaert. 161. Tudor English Church Music, 5 Anthems, Edwin F. 195. edited by F. John Adams for the Harvard Glee Club (in Kalmus. manuscript). 162. Opera Omnia of Tinctoris. 196. Opera Omnia of Willaert. 163. Musica Britanica. 197. Opera Omnia of Willaert. 164. Musica Britanica. 198. edited for the Harvard Glee Club (in manuscript).

Notice of Editor Vacancy The position of Editor/Chair­ Perform in China man of the Editorial Board of Your choral group can perform in China with the help of one of America's The Choral Journal will be open leading providers of educational and special programs there. as of July 1, 1989. Nomina­ For a decade, China Educational Tours has been the choice of such prestigious tions and offers to volunteer institutions as Harvard University, Wellesley College, Duke University, Project HOPE, from the membership for this the Indianapolis Museum of Art, and many others for projects that require out-of­ important position are now be­ the-ordinary arrangements and the know-how to get things done right in this ing accepted. Please send fascinating but difficult land. nominations and offers to We have a limited number of concert tour opportunities in China for American volunteer, along with vita and choral groups and other performing organizations. description of editorial and We arrange access to major concert halls and churches, combined perform­ publishing experience, to: ances with Chinese groups, meetings with Chinese musicians, and visits to the David Thorsen country's major conservatories, in addition to sightseeing at China's major historical and cultural sites. School of Music California State University Audition tapes are required. Fullerton, CA 92634 For details: 1110 Washington Street (800) 225-4262 Deadline for receipt of applica­ China Educational Tours Boston, MA 02124 (617) 296-0270 tion is June 15, 1989.

Page 18 THE CHORAL JOURNAL Secular Music

++1. Alonso La tricotea Samartin la vea (3) ME 2. Anonymous Buen amor, no me deis guerra (3) +3. Anonymous Dolent depart (3) 4. Anonymous England be glad (3) 5. Anonymous Jancu janto (3) tHO~AL I)I~EtIO~'S WO~UHOPS 6. Anonymous Marion (4) ME 7. Anonymous Muchos van de amor heridos (4) Ch() .... al Semlna .... s 8. Anonymous Ollademe, gentil d~na (4) +9. Anonymous Small pathes to the greenwood (3) MD For Church and/or School Choral Directors + 10. Arcadelt, Jacob *Donna se'l mio servire (4) M- Located on Beautiful Lake carlos, 11. Azzaiolo, Filippo *Ti parti, cor mio caro (My dear near Alexandria, Minnesota heart, your departing) 12. Badajoz 0, desichado de mi! (3) With vocal and choral technique 13. Banchieri, Adriano Cunza laviz, stagna paroi (3) ME New music, New Ideas 14. Banchieri, Adriano Intermedio di solfanari (The match Fun, Fellowship, Sharing sellers) (3) ME + 15. Banchieri, Adriano Nu semmo tri duttor (3) ME Elementary/Junior Hlgb Directors 16. Banchieri, Adriano o paurazzo duttor (3) ME July 21-:18 17. Banchieri, Adriano Pantalone e burattirtlo (3) ME Hlgb Scbool/Church Directors 18. Banchieri, Adriano Pantalone sole (3) ME July:l7-30 19. Belaver, Vicenzo Se mo bel'e despe (3) 20. Belaver, Vicenzo Tutto'l di ti te spampoli (3) $170 for WOIkshop, housing, and all meals for four days (additlonal family rates available) 21. Bonardo, Francesco Se la na na na belleza fusse (3) + +22. Brumel, Antoine Du tbut plongietiFor seulement (4) MD- Also atoral Workshop for students +23. Brumel, Antoine grades four through nine Tous les regretz (4) M July 16·21 - $150 +24. Certon, Pierre * Jay Ie rebours (4) M- +25. Certon, Pierre *Que nest elle aupres de may (4) M- m.-ected by: 26. Compere, Loyset Paranymphus (4) IUduu"d and I{ay t!()Ulan +27. Compere, Loyset Taus les regretz M 28. Cooper, John I have never been a foster 29. Cornyshe, William Farewell my joy (3) 30. de Corregio, Claudio Ingrat' amour 31. Corteccia, Francesco Guard'a h'ai mo pastore, vientene almo risposo 32. Croce, Giovanni Mascherata de gratiani (4) + +33. DeBussy, Vincent *Las iI n'a nui mal (4) +34. des Prez, Josquin· Si rai perdu man ami (3) M +35. del Encina, Juan *Oy comamos y bebamos (Let us eat, drink, and be merry) (4) ME + +36. del Encina, Juan *Mi libertad (4) ME- 37. Este, Michael *How merrily we live (3) 38. Fayrfax, Robert Sumwhat musying (3) 39. Festa, Costanzo Come lieta si mostra 40. Festa, Costanzo Piu che mai vaga et bella (4) 41. Gabrieli, Andrea Chinde dara la bose (3) 42. Gabrieli, Andrea Dionorea viente priego (3) +43. Guerrero, Francisco Ojos daros y serenos (4) M- +44. Hassler, Hans Leo lch brinn und binn entzundt (4) 45. Hassler, Hans Leo *Nun fanget an ein guttes leidlein (4) 46. Haussman, Valentin Mit seufzen und mit klag (With sighing and lament) (4) 47. Henry VIII o my heart (3) .. SUPERB SOUND REPRODUCTION 48. Henry VIII Whoso that will for grace sue (3) • NO MINIMUM QUANTITIES 49. Henry VIII Without discord (3) .. PERSONALIZED SERVICE 50. de Hollande, Jean Le rossignol dans son nid chante .. FAST, ON TIME DELIVERY (The nightingale at rest is singing) (4) AT COMPETITIVE PRICES 51. Lechner, Leonard Ach Lieb lch muz dich lassen (3) Bauer Audio offers a complete service in cas- 52. Lechner, Leonard Ach schones bild, wollt (4) sette duplication, from mastering to labeling. 53. Lechner, Leonard Utilizing state-of-the-art equipment, Bauer pro- Ihr euch nicht versunden (4) duces audiophile quality that is unmatched at any 54. Monteverdi, Claudio Aile Danze aile Danze (3) price. Request FREE SAMPLE TAPE and experi- 55. Monteverdi, Claudio Amor (3) (Non havea febo ancora) ence the difference. ( + Lamento della Ninfa) ( + mezzo soprano solo) Si tra sdegnosi M+ 56. Monteverdi, Claudio Augelino (3) 57. Monteverdi, Claudio Dell'usate mie corde (3) 58. Monteverdi, Claudio Eccumi pronta ai bact (3) 59. Monteverdi, Claudio Non vciglio amare (3) 10735 BURBANK BLVD.fNORTH HOLLYWOOD, CA 91601 60. Monteverdi, Claudio o mio bene (3) Visitors by appointment only 61. Monteverdi, Claudio Perche se m'odiavi (3) For additional information call 62. Monteverdi, Claudio Quando dentro al tue seno (3) 1 627-7277 April 1989 Page 19 63. Monteverdi, Claudio Riedi (3) 1989 INTERNATIONAL CHORAL FESTIVAL 64. Monteverdi, Claudio S'el vostro cor Madonna (2) +65. Monteverdi, Claudio Su su su pastorelli vezzosi (3) M 66. Monteverdi, Claudio Vaga su spina ascosa (3) ~~ 67. Morley, Thomas *Say dear, will you not have me? (3) FESTIVAL CHORAL INTERNATIONAL 1989 68. da Palestrina, Giov. In parasceve (4) 69. Richaforte, Joannes Printemps (4) IN ASSOCIATION WITH LLOYDS BANK CANADA 70. de Rore, Cipriano I il)i vivea-o natura, pietos (5) +71. de Rore, Cipriano Plange quasi virgo-accingite vos (5) MD G H 0 R A L 72. de Rore, Cipriano Quand'io veggio-poscia in pensar .(5) 73. de Rore, Cipriano Vias tuas-notam fac mi hi viam (5) + +74. de la Rue, Pierre Porquoy non (4) 75. de Sermisy, Claudin Ceulx de Picardie (Picardy has WORKSHOPS burghers) 11)e FaclI/I)' ojfl/llSic, Throughout.the month of 76. Striggio, Alessandro II cicalamento delle Donne al bucato Ulliversily oj1brol/lO al/d Ibe June, Festival artists will give Ro)'a/ COl/senJalory ojAlllsic masterclasses open to the (4) preselll Ibejo)' q/Leal'llil/g general public. Admission $5. 77. Underholtzer, Rupertus Oime patientia (4) . CborallVorksbops. Saturday, June 3 78. Vasquez, Juan De las dos hermanas, do se.(4) Poliansky Choir of Moscow 79. Valeri Po/ial/sk): Director V?\sques, Juan Que no me desnudeys (4) WORKSHOP I ThursdaY,June 8 80. Vecchi, Orazio Co vedo la mia dona giustiana (4) M- MOIlt/a):jlllle 5 10 BBCSingers 81. Vecchi,Orazio E vorave saver giustiana (3) SllIIrla): jlllle II jobl/ Poo/e, Director 82. Vecchi,Orazio Imitatione del Siciliano (3) 11)e COl/dllclor as 'Ilmcber Saturday,June 10 83. Vecchi, Orazio Imitatione del Tedesco (3) Doreen Rao, Director. Atten· Thpiola Choir of Finland dance at rehearsals and Erkki Pabjo/a, COl/dllclor + +84. Vecchi, Orazio Imitatione del Venetiano (3) M- perfonnance of Beethoven's Monday,June 12 85. Vecchi, Orazio Non mi stornir (giustiana) (3) Missa Solell/I/is. Masterclasses with Robert Shaw, John Poole Electric Phoenix + +86. Vecchi,Orazio Quando penso (giustiana) (3) ME and Erkki Pohjola. Attendance Eleclrol/lc aval/t·garde 87. Walter, Bruno Post duo tempora (5) at performance of BBC Singers ThursdaY,June 15 and lhpiola·Cholr. Limited Ave Sol - Riga Chamber 88. Walter, Bruno Wir glauben (4) number of spaces available. Choir 89. Walther, Johann Auf bergreihenweise (3) Prafossor III/aI/Is Kokars 90. Willaert, Adrian Lasso, ch'j adro-quest' arder mio (4) Friday, June 16 WORKSHOP II Krzysztof Penderecki 91. Willaert, Adrian L'aura mia sacra-ella si tace (5) Call/poser 92. Willaert, Adrian Lo amai sempre-ma chi penso veder MOl/{la):jlllle 19 10 SllIIrla):illlle 25 Thursday,June 22 (4) 11)e 'Ilmcber as COl/dllclor Helmuth Rilling 93. Willaert, Adrian o invidia-ne pero che con atti (5) Workshops and seminars Witll COl/dllctor Doreen Rao and guest artists For further infonnation and 94. Willaert, Adrian Piu volte gia-ond'io non pote' mai (5) of the Festival. Attendance at registration brochure contact 95. Willaert, Adrian Strinxerunt-mea nox (4) Berlioz's 11)e Dall/I/atiol/ oj tlle Joy of Learning Choral Fallstand Bach's Mass ill B Workshops; 273 Bloor Street Alil/OI: Limited number of West, 'Ibronto, Ontario spaces available. M5S lW2, (416) 978·3771. Secular Sources Sponsored by 1. edited by Jameson Marvin for the Harvard Glee Club (in manuscript). 2. Monumenta Musica Espanola, vol. X. J 3. Oxford Univ~rsity Press, ed. Jameson Marvin. TransCanada Pipelines 4. Musica BritaniCa, vol. XVIII. 5. edited by Jameson Marvin for the Harvard Glee Club (in manuscript). FACULTY OF MUSIC 6. edited by Jameson Marvin for the Harvard Glee Club (in manuscript). 7. Monumenta Musica Espanola, vol. V. UNIVERSITY OF TORONTO 8. Monumenta Musica Espanola, vol. X. 9. edited by Jameson Marvin for the Harvard Glee Club (in manuscript).. 10. edited by Elliot Forbes for the Harvard Glee Club (in manuscript). 11. Renaissance Choral Series (OCT 2329), Belwin Mills Publishing Corp., ed. Don Malin (with english translation) 13. Opera Omnia of Banchieri. . NOTICE OF EDITOR VACANCY 14. #15056-5, Edward B. Marks Music Co., ed. Ray Moore (with English The position of Editor/Chairman translation). of the Editorial Board of The 15. edited for the Harvard Glee Club (in manuscript). Choral Journal will be open as of 16. Opera Omnia of Banchieri. July 1, 1989. Nominations and of­ 17. Opera Omnia of Banchieri. fers to volunteer from the 18. Opera Omnia of Banchieri. membership for this important 19. Monumenta Musica Espanola. position are now being accepted. 20. Monumenta Musica Espanola. Please send nominations and of­ 21. Monumenta Musica Espanola. fers to volunteer, along with vita 22. Oxford University Press, ed. Jameson Marvin. and description of editorial and 23. CMM, Antoine Brumel, Chansons (#12). publishing experience, to: 24. #2323, E. C.Schirmer Music Co., ed. Elliot Forbes. David Thorsen 25. edited by Elliot Forbes for the Harvard Glee Club (in manuscript). School .of Music 26. CMM, Loyset Compere, Chansons. California State University 27. edited for the Harvard Glee Club (in manuscript). Fullerton, CA 92634 28. edited for the Harvard Glee Club (in manuscript). Deadline for receipt of application 29. edited for the Harvard Glee Club (in manuscript). is June 15, 1989. 30. Opera Omnia of Correggio.

Page 20 THE CHORAL JOURNAL 31. A Renaissance Entertainment, University of Missouri 59. Opera Omnia of Monteverdi, vol. IX, ed. Malapiero. Press, eds. Andrew C. Minor and Bonner Mitchell. 60. Opera Omnia of Monteverdi, vol. IX, ed. Malapiero. 32. Opera Omnia of Croce. 61. Opera Omnia of Monteverdi, vol. IX, ed. Malapiero. 33. edited by Elliot Forbes for the Harvard Glee Club (in 62. Opera Omnia of Monteverdi, vol. IX, ed. Malapiero. manuscript), available through IMC Library. 63. Opera Omnia of Monteverdi, vol. VIII, ed. Malapiero. 34. Opera Omnia des Prez, ed. Smijers. 64. Opera Omnia of Monteverdi, vol. VIII, ed. Malapiero. 35. Renaissance Choral Series (OCT 2328), Belwin Mills 65. Opera Omnia of Monteverdi, vol. IX, ed. Malapiero. Publishing Corp., ed. Don Malin (with English 66. Opera Omnia of Monteverdi, vol. VII, ed. Malapiero. translation). 67. edited for the Harvard Glee Club (in manuscript). 36. Mi Iibertad edited for the Harvard Glee Club by 68. Opera Omnia of Palestrina, vol. XIII. Jameson Marvin. 69. Thesauri Musici, vol. 11. 37. #756, E. C. Schirmer Music Co., ed. Clough-Leighter. 70. CMM, Cipriano de Rore, Madrigals. 38. Fayrfax Works, vol. II. 71. CMM, Cipriano de Rore, Madrigals. 39. A Renaissance Entertainment, University of Missouri 72. CMM, Cipriano de Rore, Madrigals. Press, eds. Andrew C. Minor and Bonner. Mitchell. 73. CMM, Cipriano de Rore, Madrigals. 40. A Renaissance Entertainment, University of Missouri 74. Opera Omnia of de la Rue. Press, eds. Andrew C. Minor and Bonner Mitchell. 75. #133-5 Alexander Broude, ed. Isabelle Cazeaux (with 41. CMM, Andrea Gabrieli. English translation). 42. CMM, .Andrea Gabrieli. 76. Thesauri Musici, vol. II. 43. edited by Frederick Wilson for the Lehigh University 77. Das Erbe Deutscher Musik, Werke II, Underholtzer. Glee Club (in manuscript). 78. Monumenta Musica Espanola, vol. IV. 44. edited for the Harvard Glee Club (in manuscript). 79. Monumenta Musica Espanola, vol. IV. 45. edited for the Harvard Glee Club (in manuscript). 80. edited by Jameson Marvin for the Harvard Glee Club. 46. Renaissance Choral Series (OCT 2331), Belwin Mills 81. Capolavori Polifonici of the 16th century, vol. VIII, Publishing Corp., ed. Don Malin (with English Convito Musicale, ed. William R. Martin. translation). 82. La veglie di Sienna. 47. edited for the Harvard Glee Club (in manuscript). 83. La veglie di Sienna. 48. edited for the Harvard Glee Club (in manuscript). 84. Oxford University Press, ed. Jameson Marvin. 49. Renaissance Choral Series (OCT 2330), Belwin Mills 85. Capolavori Polifonici of the 16th century, vol. VIII, . Publishing Corp., ed. Don Malin (with English Convito Musicale, ed. William R. Martin. translation). 86. edited for the Harvard Glee Club by Jameson Marvin. 50. Renaissance Choral Series (OCT 2330), Belwin Mills 87. Opera Omnia of Walter, vol. I. Publishing Corp., ed. Don Malin (with English 88. Opera Omnia of Walter, vol. III. translation). 89. Opera Omnia of Walter, vol. I. 51. Opera Omnia of Lechner, vol. IX. 90. CMM, Adrian Willaert. 52. Opera Omnia of Lechner, vol. IX. 91. CMM, Adrian Willaert. 53. Opera Omnia of Lechner, vol. IX. 92. CMM, Adrian Willaert. 54. Opera Omnia of Monteverdi, vol. IX, ed. Malapiero. 93. CMM, Adrian Willaert. 55. Opera Omnia of Monteverdi, vol. VII, ed. Malapiero. 94. CMM, Adrian Willaert. 56. Opera Omnia of Monteverdi, vol. VII, ed. Malapiero. 95. CMM, Adrian Willaert. 57. Opera Omnia of Monteverdi, vol. VII, ed. Malapiero. 58. Madrigali Guerrieri et amorosi, Opera Omnia of Monteverdi, vol. VIII, part II, ed. Malapiero.

This Announcing two new recordings by publication is available in The St. Olaf Choir microform Portrait of the Orient: A collection of from University the most memorable pieces sung by the Microfilms ttrOUAFt St. Olaf Choir on their 75th anniversary International. concert tour to , Taiwan, Hong Kong and the People's Republic of o Please send information about these titles: S HOIR . I I I China Name ______C NOR T H FIE LD Seoul Olympic Arts Festival: The Companyllnstitution ______MINNESOTA St. Olaf Choir program presented at the USA International Choral Festival in Seoul, Address ______South Korea, prior to the 1988 Olympic City ______Games State _____ Zip, _____

PhoneL(_-'- ______Call toll·free 800·521·3044. Or mail inquiry to: A vailable in C.D., cassette or L.P. For a complete listing of works on these University Microfilms international, 300 North Zeeb Road, Ann Arbor, Mi 48106. albums, as well as other recordings by the St. Olaf Choir, write or call the St. Olaf College Bookstore, Northfield, Minn. 55057 (507) 663-3048.

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